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25 cm 253 cm

31 cm 393 cm

1 cm 13 cm
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ANCIENT PAINTING
 

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In this section you can find all the Ancient Painting works available in our online catalogue. A wide and refined selection that includes Landscapes , Still Lifes , Portraits , faces, Sacred Subjects , glimpses and views with which you can enrich any room in your home.

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Antique Painting with Architecture and Landscapes Oil on Canvas
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ARARPI0232319
Antique Painting with Architecture and Landscapes Oil on Canvas

ARARPI0232319
Antique Painting with Architecture and Landscapes Oil on Canvas

Oil painting on canvas. Roman school of the 17th century. The large scene, in Flemish style, probably the work of a Nordic author who settled in Rome, is occupied by a large architectural complex, made up of the remains of classical temples, damaged, unsafe and invaded by weeds, located near a lake. Among the vestiges of a now dead era there are numerous colorful and animated figurines of characters from everyday life contemporary with the production of the painting. Restored and relined, the painting is presented in a strip frame.

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12,366.00$

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Antique Painting with Mythological Scene Oil on Canvas XVIII Century
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ARARPI0230855
Antique Painting with Mythological Scene Oil on Canvas XVIII Century

ARARPI0230855
Antique Painting with Mythological Scene Oil on Canvas XVIII Century

Oil painting on canvas. French school of the 18th century. The mythological subject of the goddess Diana bathing was widely spread in 18th century painting and, particularly in the Flemish area, also in the previous century. It was proposed in different variations, with the goddess alone, or accompanied by nymphs, or with Actaeon; in this case the beautiful deity, recognizable by the quiver hanging from the tree branch and the hunting dog that accompanies her. she is about to bathe in a body of water while a mischievous faun spies on her behind her. The scantily clad female body occupies the entire scene, central and of a whiteness that stands out in the midst of the shadows of the leafy forest, with all the other figures and elements that surround it. The small painting was restored and relined at the beginning of the 20th century.

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1,183.00$

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Landscape Painting with Washerwomen at the River
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ARARPI0229483
Landscape Painting with Washerwomen at the River

ARARPI0229483
Landscape Painting with Washerwomen at the River

Oil painting on canvas. The large landscape, with green countryside that slopes into gentle hills and blue mountain peaks in the background, is crossed by a quiet watercourse; above it three leafy plants rise, one in the center and two on the sides, which delimit a field of vision in the foreground in which three figures of women are placed, washerwomen in different moments of their activity: on the right a woman still at work, on the in the center another returning home on the back of a donkey with her baskets, finally on the left, a mother who stopped to breastfeed her baby. The scene is characterized by an atmosphere of calm and serenity, well underlined by the chromatic choices of soft and bright green and blue shades. Restored and relined, the painting is presented in an early 20th century frame adapted and lacquered "antique style".

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3,076.00$

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Antique Painting with Still Life Oil on Canvas XVIII Century
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ARARPI0228791
Antique Painting with Still Life Oil on Canvas XVIII Century

ARARPI0228791
Antique Painting with Still Life Oil on Canvas XVIII Century

Oil painting on canvas. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.

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2,904.00$

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Antique Painting with Glimpse Oil on Canvas XVIII Century
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ARARPI0229497
Antique Painting with Glimpse Oil on Canvas XVIII Century

ARARPI0229497
Antique Painting with Glimpse Oil on Canvas XVIII Century

Oil painting on canvas. The painting offers a close-up and perspective view of an elegant marble palace, with an arched passage in the center through which another access can be seen, a portal with glass panels. In the scene there are some figurines passing from one room to another, in particular note in the foreground on the right, the little beggar who follows a man with his little hand outstretched. Restored and relined, the painting is presented in a late 19th century frame.

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2,205.00$

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Antique Painting Religious Subject Oil on Canvas XVIII Century
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ARARPI0229496
Antique Painting Religious Subject Oil on Canvas XVIII Century

ARARPI0229496
Antique Painting Religious Subject Oil on Canvas XVIII Century

Oil painting on canvas. The Madonna is depicted in glory, standing in the heavens and surrounded by little angels. The work, still on the first canvas, was applied on a modern stretcher: this fact, together with the incompleteness of the figure of Mary, suggests that the painting was part of a larger canvas. The painting is presented in a period frame.

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1,828.00$

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Antique Painting with Figures Oil on Canvas XVIII-XIX Century
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ARARPI0230384
Antique Painting with Figures Oil on Canvas XVIII-XIX Century

ARARPI0230384
Antique Painting with Figures Oil on Canvas XVIII-XIX Century

Oil painting on canvas. In the composition, a woman with her child, in ancient clothes and flanked by an ox, kneeling on steep ground, stretch their arms upwards in an act of supplication or perhaps contemplation: it could be an interpretation of Mary who accompanies Baby Jesus to contemplate his destiny, with the ox which refers to the birth and simple pastoral life of the Holy Family. Restored and relined, the painting shows several traces of color loss. It is presented in a stylish frame.

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1,452.00$

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Antique Copy from A. de Coster's Painting Oil on Canvas XVIII Century
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ARARPI0229900
Antique Copy from A. de Coster's Painting Oil on Canvas XVIII Century

Card Players

ARARPI0229900
Antique Copy from A. de Coster's Painting Oil on Canvas XVIII Century

Card Players

Oil painting on canvas. It is an ancient copy, from the end of the 17th century, of a painting by the Flemish painter Adam De Coster, dated around 1620 and currently belonging to a private collection. Adam De Coster was defined as Pictor noctium, or Painter of the nights, because he specialized in nocturnal genre scenes, with figures illuminated by the light of candles, with a clear Caravaggio style. The copy presented here is ancient, dating back to a few decades after the original. It also shows a group of men who, against a completely black background, play cards illuminated by a light source coming from the left, not visible in the scene, which ends up centering the cards played on the table top, and is reflected faces with different gradations of luminous intensity. The work has undergone restoration and relining. It is presented in a mid-20th century gilded frame.

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8,452.00$

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Antique Painting Young Man with a Pipe Oil on Canvas XVIII Century
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ARARPI0229465
Antique Painting Young Man with a Pipe Oil on Canvas XVIII Century

ARARPI0229465
Antique Painting Young Man with a Pipe Oil on Canvas XVIII Century

Oil painting on canvas. The painting offers a half-length portrait of a young man who, in deshabillé, is lighting his pipe by drawing fire with a stick from the candle placed in front of him, on the table where a sword is also placed: perhaps it is a young knight in a moment of rest. It is precisely the candle, the only source of light in the scene, which suggests that the artist looked to the production of Georges De La Tour (1593 -1652), the French painter of the Caravaggio style who established himself for his "nocturnal" scenes, characterized by figures, usually low-ranking people rather than historical models or high-ranking figures, illuminated by the light of a candle, to create a special atmosphere of intimacy. The painting, restored and relined, is presented in a period frame.

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3,979.00$

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Antique Painting Historical Scene '600-'700 Oil on Canvas
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ARARPI0219842
Antique Painting Historical Scene '600-'700 Oil on Canvas

ARARPI0219842
Antique Painting Historical Scene '600-'700 Oil on Canvas

Oil painting on canvas. Southern Italian school of the 17th-18th centuries. The scene, full of characters, sees the figure of a leader standing at the centre, well defined in the details of the armour, the crest, as well as the anatomy: he is benevolently accompanying with the movement of his arms a kneeling man who, together to his companion, he is paying homage to an emperor, however indicating with his outstretched hand the group of six children, held back on the right by soldiers. The emperor has risen from the throne, on the left, and goes to meet the prostrate couple, but he too seems almost in an attitude of reverence towards the central leader. The scene seems to refer to a historical episode of clemency of a leader, who due to his age, features and type of armour, could be Alexander the Great, a character who, however, is difficult to match with the other figure crowned with laurel, who descends from the throne in the sumptuous palace . It is therefore not possible to specifically identify the episode (historical or legendary?) of reference. Furthermore, the compositional richness of the scene is appreciated, with numerous well-detailed figures and bright colors to underline its dynamism. The work, restored and relined, is presented in an antique frame.

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10,388.00$

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Antique Painting Portrait of Emperor Vitellius Oil on Canvas '700
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ARARPI0229494
Antique Painting Portrait of Emperor Vitellius Oil on Canvas '700

ARARPI0229494
Antique Painting Portrait of Emperor Vitellius Oil on Canvas '700

Oil painting on canvas. Aulus Vitellius Germanicus Augustus is one of the Eleven Roman Emperors who were portrayed half-length in a series created by Titian in 1536-40 for Frederick II, Duke of Mantua. Passed first to the English royal house and then to the Spanish court, the paintings were all destroyed in a catastrophic fire at the Royal Alcazar of Madrid in 1734 and are now known only from copies made by various Flemish engravers between the end of the 16th and beginning of the 17th century. Among these, we have received the engraving of the portrait of Vitellius made by Aegidius Sadeler (1570 -1629), compared to which our copy presents some small differences, as was usual when works by other great artists were copied. The emperor, characterized by a prominent nose, thin lips, plump cheeks and a double chin, holds the staff of command and wears armor with a red cloak over it. The painting has been restored and relined.

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2,044.00$

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Antique Painting Historical Subject Oil on Canvas XVIII Century
ARARPI0229467
Antique Painting Historical Subject Oil on Canvas XVIII Century

ARARPI0229467
Antique Painting Historical Subject Oil on Canvas XVIII Century

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

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2,151.00$

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Antique Painting with Religious Subject Oil on Canvas XVIII Century
ARARPI0230383
Antique Painting with Religious Subject Oil on Canvas XVIII Century

ARARPI0230383
Antique Painting with Religious Subject Oil on Canvas XVIII Century

Oil painting on canvas. The scene, outdoors at the foot of a slope, shows two female figures slumped over and behind them a pilgrim, with the traditional staff and shells on his cloak. The woman in the foreground holds a rosary in one hand, and a sleeping child lies on her lap. The scene brings to mind a moment of sorrowful and contemplative prayer. The painting, already restored and relined, has several drops of color and stains. It is presented in a stylish frame.

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1,452.00$

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Antique Painting with Stormy Sea Oil on Canvas XVIII Century
ARARPI0229471
Antique Painting with Stormy Sea Oil on Canvas XVIII Century

ARARPI0229471
Antique Painting with Stormy Sea Oil on Canvas XVIII Century

Oil painting on canvas. Northern Italian school of the 18th century. The large scene presents a glimpse of the sea, near the inhabited coast, strongly agitated by the storm, which has already caused the shipwreck of a ship, located in the foreground on the left, smashed on the rocks, while another, on the right, is suffering the same fate. Some sailors have reached the shore, others try to do so on the lifeboat. The whole scene is characterized by dark and dark colors, even if a gash in the sky full of gray clouds opens up to a glimmer of light. Restored and relined, the painting is presented with a strip frame.

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5,011.00$

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Antique Painting with The Announcement Oil on Hardboard Italy 500
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ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

Oil on wooden board. Central Italian school of the second half of the 16th century. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior that corresponds to Mary's room. The young woman is sitting in front of a small wooden desk, supported by figures of angels, on which rests the prayer book and a vase with small flowers; at her feet, the sewing basket. Mary's body is partially turned backwards, in a twisted movement, almost as if she were trying to escape, as if she wanted to get away from the other figure, that of the Archangel Gabriel. He stands on the right, majestic and elegant, with one hand holding a lily and the other pointing upwards above him, where the white dove, symbol of the Holy Spirit, is emerging from a gap of light. In the background, tall columns with drapes surmount the platform on which Mary's bed rests. The composition refers, in the figurative style and in the chromatic choices, to the already mannerist painting of the schools of central Italy: in particular there is a strong concordance of style and composition with some works of the same subject by the painter Bastiano Vini Detto Bastiano Veronese (1525-1530 / 1602), who lived and worked in Pistoia from around 1540. It is in this city that some of his Annunciations are found: in particular the one in the Church of Santa Maria delle Grazie (an altarpiece measuring over two meters in height), shows clear similarities on a formal and compositional level with the one presented here . There is concordance in the setting of the sacred scene: a room, in the background of which is a curtain that partially covers a bed, furnished with the elements essential to the narrative, the lectern and the chair richly decorated with caryatids of cherubs or angels that seem to be carved in the wood. The compositional scheme corresponds, albeit with slight variations, with the two figures arranged "frieze-like" on the same laying plane, and the somatic features of the Virgin and the Archangel also correspond. However, the floor differs, which, while it is homogeneous in our table, in the Pistoia one presents itself with alternating checkerboard colors, but it seems that this design of the floor was added in a later period, on the occasion of the reconstruction of the altar in 1637 -1639, in pendant with that of another work by the same Sebastiano Vini in the same church, a Sacred Conversation. It therefore seems rather certain that our panel was painted looking at the work of Bastiano Veronese, probably at the specific request of the client, and before the change in the floor, therefore dating back to the second half of the 16th century. The painting has undergone restoration, with the application of two reinforcements to the back of the panel. It is presented in a late 19th century setting. (Reference for the Pistoia altarpiece: Catalog of cultural heritage https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900035285)

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Architectural Capriccio with Figures Italy XVIII Century
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ARARPI0145419
Architectural Capriccio with Figures Italy XVIII Century

ARARPI0145419
Architectural Capriccio with Figures Italy XVIII Century

Oil on canvas. Neapolitan school of the eighteenth century. The scene, located near the sea, is dominated by a large complex of architectural ruins, with statues, arches, hanging gardens, and animated by numerous figurines of commoners intent on various activities. Restored and relined, the painting is presented in an antique frame.

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10,603.00$

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Antique Painting with Religious Subject Oil on Canvas XVII Century
ARARPI0224942
Antique Painting with Religious Subject Oil on Canvas XVII Century

Disciple of Peter Paul Rubens

ARARPI0224942
Antique Painting with Religious Subject Oil on Canvas XVII Century

Disciple of Peter Paul Rubens

Oil on canvas. The painting derives from the work by Rubens (1577 -1640) conserved in the Prado Museum in Madrid, reproduced as a counterpart in engraving by Paulus Pontius (1603 -1658), as also appears in this version. Occupying the vertical centre of the scene is the figure of Mary, whose face was inspired by that of Isabel Brandt, the Flemish painter's first wife, who died in1626 at the age of just 35. The Madonna holds the Child Jesus in her arms, who looks tenderly but seriously into her eyes, while a small hand rests on his mother's uncovered breast, from which he has just received nourishment; behind, standing, St. Anne wraps the shoulders of her daughter and grandson in a tender and protective embrace, smiling complacently: On the left side, somewhat separated and in the dark, Joseph watches pensively and worriedly: the only human figure who does not fit into the light emanating from the Child's face, radiating on Mary's and, by reflection, also on St. Anne's. Compared to the master's work, the composition of the figures is respected, but several details vary, particularly in the clothing of St. Anne, Mary, and the drapery that encircles the Child's hips, supporting the hypothesis that it is the work of a follower of the Flemish master. The painting, restored and re-tinted, is in good condition, with only a scratch in the colour in the top centre.

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6,452.00$

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Antique Painting with the Holy Family Oil on Canvas '600
ARARPI0224075
Antique Painting with the Holy Family Oil on Canvas '600

ARARPI0224075
Antique Painting with the Holy Family Oil on Canvas '600

Oil painting on canvas. Central Italian school of the 17th century. The unusual and particular representation presents on the left the three figures of the Holy Family, with Jesus already a child, sitting at the table and blessing the simple meal they are about to consume (consisting of fruit and bread); the scene, a subject depicted rather rarely and generally with a more sacred character due to the presence of angels serving food to the family, here instead has the flavor of very normal and simple domestic intimacy. Instead, everything around the Holy Family stands out majestically, the glimpse of a Renaissance city, with tall buildings with loggias and colonnades, presented according to a beautiful perspective effect which leads, at the bottom on the right, to the entrance walls of a richly turreted city, probably Jerusalem. Restored and relined, the painting is presented in a late 19th century frame.

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6,732.00$

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Antique Painting The Boar Hunting Oil on Canvas XVIII Century
ARARPI0226686
Antique Painting The Boar Hunting Oil on Canvas XVIII Century

ARARPI0226686
Antique Painting The Boar Hunting Oil on Canvas XVIII Century

Oil painting on canvas. Central European school of the 18th century. Lively and entertaining boar hunting scene, where the beast, besieged by dogs and knights, forces a servant, on his escape path, to take refuge in a tree. The work is mounted on a recent frame. It is presented in a late 19th century setting.

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Antique Painting Attr. to D. Lupini Roman Mythology '600
ARARPI0223425
Antique Painting Attr. to D. Lupini Roman Mythology '600

Attributed to Domenico Lupini

ARARPI0223425
Antique Painting Attr. to D. Lupini Roman Mythology '600

Attributed to Domenico Lupini

Oil on canvas. The painting depicts an episode from Roman mythology relating to the young Roman heroine Clelia, who was given as a hostage, along with other maidens, to the Etruscan king Porsenna during peace negotiations with the city; Clelia managed to escape, however, by swimming across the Tiber. Porsenna demanded her return to the Romans, who agreed, but admiring her heroism, he decided to free her by allowing her to take other prisoners with her, whom Clelia chose from among the younger ones. The moment depicted in the painting is that of the crossing of the river, the personification of which is in the foreground on the right, in the figure of the canine old man, accompanied by a young woman with a cornucopia. The scene is very dynamic, with Clelia and the other maidens creating a dense and animated group around the horse ridden by the protagonist, as some versions of the story recall; behind them are the tents of the Etruscan king's camp with some soldiers. On the other side of the river is another group of women who have already made the crossing, while in the background is the classical-looking Capitoline city. The work, as a small cartouche attests, is attributed to Domenico Lupini, an artist about whom not much is known but whose sphere of activity can be assumed to have been between Bergamo and Venice. The only two signed works are a 'Converted Magdalene' and an 'Annunciation', but other works have been attributed to him by scholar Federica Nurchis and are located in the monastery of Santa Chiara in Bergamo. The painting presents a warm and refined chromatism that, together with the elegance of the characters and the compositional mode, suggest Lucini's Venetian sojourn, which seems to recall the atmospheres of Tintoretto, Veronese and Palma il Giovane. The painting shows signs of restoration and retouching.

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6,947.00$

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