Giovanni Faliero Art

The "Rural Scene" (oil painting on canvas, 90 x 113 cm without frame and 110 x 125 cm with coeval frame) as it hinges only on the presence of animals - an ox, a cow, two sheep and a goat - may constitute an exception in this specific vein, but it reflects the prevailing and constant practice of Philipp Peter Roos known as "Rosa da Tivoli...

This beautiful Italian 18th Century old masters oil painting on oval canvas with giltwood frame is attributed to Solimena and features a religious scene. In this splendid oval-shaped painting are depicted Saint Dominic...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

“Timete Deum et date Illi honorem quia venit hora iudicii Eius” (Fear the Lord and honour Him, for the hour of His judgement has come): the passage from John's Apocalypse (chapter 14...

A beautiful late 17th century Italian Old Master oil on canvas depicting The Virgin in Adoration, circle of Carlo Maratta. Excellent quality early Italian work, presented in an ant...

Portrait of a young British Girl, in her white dress with Pink Sash. Choosing to acquire an 18th-century portrait of a young girl by English artist John Russell is an opportunity to...

Portrait of an Aristocratic Gentleman British artist, first half 18th century oil on canvas, unframed canvas: 50 x 40 inches provenance: private collection, Dorset, England condition...

18th century English school portrait of a lady, said to be Mrs. John Ruscombe of Colne, Lancaster, as the muse Erato This very skilfully painted portrait depicts a lady as the muse Erato, playing the Lyre. Her eyes are filled with emotion and her lips are curved in a soft, delightful smile. Hinting at the love song she is composing? Erato is one of the nine Muses in Greek mythology. She is the muse of lyric poetry, love poetry, and mimicry. Erato is often depicted holding a lyre, symbolizing her association with music and poetry. She inspires poets and writers to create works that celebrate love, beauty, and human emotions. Our painting was sold in the early 1900s as a work by Angelica Kauffman. Kauffman was an 18th-century Swiss Neoclassical painter who achieved significant success and recognition in a male-dominated art world. Born in Switzerland in 1741, she showed exceptional talent from a young age and received formal art training in Italy. Kauffman gained fame for her historical and mythological paintings, as well as her portraits, which were characterized by their grace, elegance, and classical influences. She was a founding member of the Royal Academy of Arts in London and enjoyed patronage from aristocrats and royalty throughout Europe. Kauffman's work contributed to the rise of Neoclassicism and she remains one of the most prominent female artists of her time. Measurements: Oil on canvas ca. 98 by 77cm and with the frame ca. 118 by 97 cm Provenance: Collection of Felix Gouled American Art Association, Anderson Galleries, by 1937 Kende Galleries at Gimbel Brothers, Jay Gould...

The crucifixion of Crist Italian school 17th or 18th century. Beautiful detail in the face and hands. The lighting makes the figure of Crist seem to glow. In a good quality later frame. Presented by Joseph Dasta Antiques...

Provenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...

Turquoise, blue, red, sea, islands, Italy Shipment included in the price Fernando FARULLI (Florence, 1923 - 1997) 1948: Young Artists Salon, Paris 1952: International Art Biennale,...

Portrait of a Noble Lady circa 1700 circle of John Closterman (German 1660-1711) oil on canvas, unframed canvas : 50 x 40 inches provenance: private collection, Somerset, England con...