Flower Still-life Virgin Trevisani Stanchi Paint Oil on canvas 17/18th Century

1680-1730

Jacob De Wit (Amsterdam, 1695 - 1754) attributable/ workshop Pair of Cupids with Garland of Flowers Oil on canvas 91 x 103 cm. - Framed 104 x 115 cm. Provenance: Christie's (London, Old master Painting 12.12.1996) lot 82 This magnificent composition depicts two cupids holding a garland of flowers, placed on a fine architecture with bas-reliefs and masks, presumably the top of a fountain. One of the two cupids sympathetically holds a part of it with his hands, while his head turns towards the viewer; the second cupid, on the other hand, must have clumsily broken the thread holding its end, and is sitting sullenly with a torch and a tear streaking his chubby cheek. The work, given its stylistic features and compositional taste, can be attributed to the Flemish artist Jacob de Wit (Amsterdam, 1695 - 1754), or to an artist from his workshop, with his typical triumphal and opulent style, which reveals clear influences from Rubens and Van Dijck, but also from Gerard de Lairesse...

Josè de Arellano (Madrid, 1653 - c. 1714) attributable Pair of still lifes of flowers Oil on canvas 37 x 45 cm. - In period frames 50 x 59 cm. Pair of still lifes, each depicting a...

Giovanni Stanchi (Rome 1608 - 1675) or Niccolò Stanchi (Rome 1623 - 1690), workshop of GARLAND OF FLOWERS WITH PORTRAIT OF THE VIRGIN Rome, First half of the Seventeenth century o...

Still life with a crystal goblet and a painted ceramic jug Hubert van Ravesteyn (Dordrecht 1638-1683) workshop/cerchia Flemish painter, mid 17th century Oil on canvas 59 x 74 cm. - Framed 74 x 88 cm. Provenance: Hampel Munich, 29.06.2023, lot 1017 € 8.000-12.000 The composition offers us a typical Flemish still life of the 17th century where, carefully arranged starting from the left edge of the table partially covered by a cloth, we can admire, in order, a magnificent Venetian crystal goblet...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

Roman school of the early 18th century Luigi Garzi (Pistoia 1638– Rome1721) attributed Still life of fruit supported by three angels Oil on oval canvas 116 x 91 cm., Framed 140 x 119 cm. Authentication on a photograph by Prof Giancarlo Sestieri, who attributes the work to the sphere of Luigi Garzi This magnificent canvas, depicting a sumptuous composition of fruit supported by three prosperous winged cherubs, from which comes a parchment bearing the Latin expression "Amor est vitae essentia", is to be placed in the production of a Roman author active between the second half of XVII century and the first of the following century. The iconography that sees represented cherubs with fruit or flowers is frequent in the Baroque period, especially in the Roman area, starting from the 1600s, with that particular depictional tendency aimed at illusionistic and frivolous images, to a type of paintings or frescoes of strong value decorative, intended for the private context and depicting jubilation of cherubs, angels or cherubs, and of which our canvas represents a perfect example. We can recall, among the most illustrious iconographic precedents, the elegant mirrors painted by Mario Nuzzi and Carlo Maratta that adorn the hall of Palazzo Colonna in Rome, and again the canvas preserved in the Rouen museum and the similar ones in Palazzo Chigi in Ariccia, with the collaboration for the figurative parts of Filippo Lauri. The commercial and furnishing success of similar works is also testified by authors such as Guglielmo Cortese known as Borgognone (1628 - 1679), Franz Werner Von Tamm (1658 - 1724), Giovan Battista Gaulli (1639 - 1709), Giovanni Paolo Castelli known as Spadino (Rome 1650 - 1740) and the aforementioned Carlo Maratta (1625 - 1713) The work, studied by Giancarlo Sestieri, was brought closer to the sphere of the eclectic Pistoian painter Luigi Garzi, one of the protagonists of Roman painting in the decades of transition between the seventeenth and eighteenth centuries. In our painting we can find the typical elements of his painting: the soft and delicately chiaroscuro light, the sculptural classicism of the figures as well as the stupendous luministic and chromatic effects. Luigi Garzi's training and artistic activity took place in the Eternal City and he was in effect a Roman artist. He moved to Rome from Pistoia, his hometown at a very young age, and joined the atelier of Andrea Sacchi, who directed his studies towards classicism, comparing himself with the works of Raphael, Domenichino and Nicolas Poussin, but also with the Emilian one. , with particular attention to the school of Guido Reni. But the Emilian examples were undoubtedly preceded, particularly by Giovani Lanfranco, who modeled his taste and style, together with a modulated cortonism, while those pre-eighteenth-century sensibilities are due to the lesson of Carlo Maratta. However, there is no doubt that the painter oriented his personality without ever bowing to imitation, reaching a refined elegance and autonomy of language, as the canvas in question clearly demonstrates in which the different influences find a refined amalgamation in perfect harmony with the baroque evolution between the seventeenth and eighteenth centuries, indicating a dating to its earliest maturity. These attitudes led the painter to obtain awards and prestigious commissions as soon as possible, such as the frescoes of Palazzo Borghese...

Charming work in the Regency style, mid 19th Century after Sir Thomas Lawrence. High quality painting. Old Christie's Stencil to verso. Would grace any home, suitable for contempor...

Indistinctly signed and dated In the first quarter of the 17th century a new form of flower painting was developed in Flemish painting, which, recreated by a large group of artists and workshops, would achieve considerable success throughout the century in much of Europe: the garland of flowers surrounding a central figure. Brueghel de Velurs was the initiator of this type of composition, however, it was his pupil, Daniel Seghers, who was the dominant figure in this specialised production and the creator of a prototype that would serve as a model for the numerous artists who followed in his wake. It seems undeniable that the artist of the present painting had seen the Garlands of Flowers Surrounding a Medallion Depicting the Triumph of Love by Daniel Seghers and Domenico Zampieri (now in the Musée du Louvre in Paris). In our painting, the present floral wreath encircles a carved cartouche within which sits Saint Dorothy of Caesarea and the attribute which often accompanies her in art, a basket of roses. The extremely delicate flowers have been rendered in meticulous detail, so that every species can be identified from exotic tulips to roses, irises and forget-me-nots; this obvious attention to naturalism is inherited from the Flemish manner. Each flower is so precise and refined that they are an individual study in their own right. The still-lifes are from the hand of Jan Anton van den Baren, with the central figures by another accomplished hand. Van den Baren’s arrangement of flowers would have delighted connoisseurs in both Flanders and in Vienna, where the impossibility of their all blooming at the same time of year would have been understood as a further statement of the wonder and beauty of the divine. Van den Baren worked first in Brussels, where he collaborated with Erasmus Quellinus II for the figures in his works, before moving with Archduke Leopold Wilhelm, his patron, to Vienna in 1656, where he instead worked with fellow Flemish émigré painter Nikolaus van Hoy. The iconography relates to an eighth century legend where she was presented a basket of roses by a child. In addition to the brilliance of his handling of still-lifes Van den Baren played an important art historical role as Director of Archduke Leopold Wilhelm’s Picture Gallery in Vienna, then one of the greatest collections in the world and the core of what was to become the present collection of the Kunsthistorisches Museum, Vienna. Van der Baren compiled an inventory of the collection in 1659, and his predecessor as Director of the Archduke’s Picture Gallery (when it was still housed in Flanders), David Teniers, depicted van der Baren (third from right) in his celebrated Archduke Leopold Willem in his gallery at Brussels, conserved at the Kunsthistorisches Museum. It is a shining example of the Flemish Baroque and is a very rare object indeed, considering there are only 14 paintings accepted as authentic works by this artist. We are grateful to Fred Meijer for confirming the attribution to Johannes Antonius van der Baren. A feature of this painting is its outstanding carved and gilded frame with a plethora of flowers and foliage. Titan Fine Art

Contemporary figurative painter Andrew S. Conklin creates a composition of portraiture and a still life arrangement presented in an interior scene. The artist applies traditional realist paint work to an environment which references modern subject matter. Rendering directly from life, Conklin imparts an original artwork that is imbued with narrative and character. This piece is painted in oils on panel, hand signed by the artist and ready to be displayed. Andrew S. Conklin, a native of Chicago, Illinois, is a visual artist, painter and draftsman. He studied painting and design at Chicago’s American Academy of Art and painting and printmaking at the National Academy of Design School in New York City. Conklin received additional instruction from portraitist Aaron Shikler and painter and illustrator David Levine. He holds an MFA from the Academy of Art University in San Francisco, CA. Conklin’s figurative paintings have been exhibited throughout the USA and have won him a number of major awards. He has shown work at the American Academy and Institute of Arts and Letters in NYC, The Terra Museum of American Art, Fairfield University, and the National Academy of Design, where he received a Julius Hallgarten Prize. A three-time recipient of the Elizabeth Greenshields Foundation Grant, Conklin has also won a John F. and Anna Lee Stacey...

Contemporary figurative painter Andrew S. Conklin creates a composition of portraiture and a still life arrangement presented in an interior scene. The artist applies traditional rea...

A beautifully executed, super-sized, trompe l'oeil oil painting of a gala apple with several levels of irony. A plump, bright, fresh apple, painted hyper realistically. The vibrant ...

Rare one of a kind Pop Art portrait painting of 80s and 90s pop icon Fabio done in silkscreen enamel oil on canvas. this is not numbered and is believed to be unique. Steven Alan Kaufman Or Steve Kaufman, 1960–2010 American pop artist, filmmaker, photographer and humanitarian.In 1975, Kaufman participated in a group graffiti Street Art show at the prestigious Whitney Museum of American Art.Kaufman participated with nine other New York City students in a cultural art exchange with students in Japan, resulting in his attaining a scholarship to the Parsons School of Design. As a teenager Kaufman was going to Studio 54 and associating with people from the 1970s New York City art community. Kaufman attended Manhattan's School of Visual Arts (SVA), where he met contemporary artists such as Jean-Michel Basquiat. In 1981 Kaufman met Andy Warhol, who became a significant influence on the 19-year-old Kaufman, who worked as Warhohl's assistant at his studio, The Factory, producing original paintings and silkscreens. Kaufman designed theme parties for various nightclubs, sold his paintings to Calvin Klein and Steve Rubell, and participated in a group art show with pop artist Keith Haring, whom he had met at the SVA. Kaufman created the graphics for NBC's Saturday Night Live. Kaufman graduated from SVA with a Bachelor of Fine Arts degree and held art shows in London. Leaving Warhol's Factory, Kaufman established his own SAK Studio, hiring homeless New Yorkers to assist him. He painted portraits of three homeless persons for Transportation Display, Inc. that where later shown in 46 cities on bus billboards, helping to raise $4.72 million to benefit the homeless. Kaufman crated the first “Racial Harmony” mural in Harlem to raise attention of inner-city problems. He showed at the White Gallery as a tribute to those who died from AIDS. The “Say Without Art” tribute was based on this show. Kaufman also exhibited his works at the Loft Gallery in Tokyo, Japan.In 1993, Kaufman moved his studio to Los Angeles and began painting in a new style he called 'comic book pop art'. He used images of Superman, Batman, Spider-Man and others from both DC comics and Marvel comics. To assist him in his studio, Kaufman hired more than 100 ex-gang members released from prison.In 1995 Kaufman published works for Martin Lawrence Limited Editions, hand-embellishing works including limited editions of Beethoven and Marilyn Monroe. He painted portraits of Muhammad Aliand John Travolta, "who autographed their editions." Becoming the first artist create a bridge between Marvel Comics (Spiderman) and DC Comics (Superman), Kaufman worked with comic book artist and creator Stan Lee. Kaufman."As Warhol's assistant, I learned to silkscreen with oils that will last forever. Since his death, Steve Kaufman’s artwork has appeared in several television programs, art hotels...