{"title":"Old Masters","description":"","products":[{"product_id":"hunters-by-the-lake-mid-xviii-century","title":"Hunters by the lake. Mid XVIII century.","description":"\u003cp\u003e👉TEMPORARY RESERVED\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eLandscape with hunters by a lake.\u003cbr data-mce-fragment=\"1\"\u003eXVIII century.\u003cbr data-mce-fragment=\"1\"\u003eOil painting on canvas, from the French or Northern Italian school, Louis XV period.\u003cbr data-mce-fragment=\"1\"\u003eProbably part of the door decoration in an interior of a villa in the countryside.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eDuring the restoration, the wooden frame was replaced. But the pictorial layer is in very discreet conditions. In the middle of a forest in the mountains, we see hunters armed with guns and surrounded by hunting dogs.\u003cbr data-mce-fragment=\"1\"\u003eEverything takes place in a landscape by the mountain lake.\u003cbr data-mce-fragment=\"1\"\u003eWithout frame.\u003c\/p\u003e\n\u003cp\u003elarge 92cm\u003c\/p\u003e\n\u003cp\u003eHigh 70cm\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":41972851900623,"sku":"","price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/products\/3325D09F-5684-41B1-AE23-B72A2EF5A9DF.jpg?v=1662298902"},{"product_id":"german-gothic-polychrome-wooden-sculpture-around-1500-to-be-restored","title":"German Gothic. Polychrome wooden sculpture. Around 1500. To be restored.","description":"\u003cp\u003eGerman Gothic. Polychrome wooden sculpture. Around 1500. To be restored.\u003cbr\u003eGerman school. Swabia? Ulm?\u003c\/p\u003e\n\u003cp\u003eDimensions: H cm 55 x L cm25 x P cm19\u003cbr\u003eMadonna, adorned with a crown, supports the newborn Jesus.\u003cbr\u003eThe position of the child, naked, represented in diagonal movement, can be found in other sculptures of the time, in particular there are similarities with the school of Ulm: the city, home of several Bavarian sculptors of the Gothic and Renaissance tradition.\u003cbr\u003eThe sculpture, originally painted, retains only some traces of polychromy, but these still make these reminiscences suggestive today. There are small wooden defects and wear, inevitable in a sculpture that is several hundred years old.\u003cbr\u003eThe carvings of the separate locks of hair are very beautiful, very graphic and with a great decorative effect.\u003cbr\u003eSculpture needs restoration.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48444384510280,"sku":"","price":1800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/4EAA6C99-E655-4E34-A056-CA6F6ACF1441.jpg?v=1766133305"},{"product_id":"sculpture-of-a-woman-praying-with-joined-hands-17th-century-or-earlier","title":"Sculpture Of A Woman Praying With Joined Hands. 17th Century Or Earlier.","description":"\u003cp\u003eSculpture of a woman praying with her hands joined.\u003cbr\u003e17th century or earlier.\u003c\/p\u003e\n\u003cp\u003eH 42cm x 9cm\u003c\/p\u003e\n\u003cp\u003eGermanic area or Austria.\u003cbr\u003ePolychrome wood.\u003cbr\u003eRefined sculptural workmanship of great expressiveness and charm with some shortcomings due to age. \u003cbr\u003eElongated, Nordic proportions of the figure; the red dress with the belt tied with a bow still has a Renaissance style.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48444434645320,"sku":"","price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/fKqInKw3d7bLFOeFnMGnhKmOC-9NR-6bPjlwhLzxQccV9bB_RNoquhD8rt88qBX8vko7xGwiTZ-JXKQG01xaTwHc1niqvlCcYHa_yY-31Dar8npumZHI4midPdWhecNq_1.jpg?v=1715518131"},{"product_id":"secretary-of-pope-pius-v-abbot-of-husillos-and-bishop-of-cordoba-francisci-de-reynoso-early-xvii-century","title":"Spanish school. Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisco de Reynoso. Early XVII century","description":"\u003cp\u003e\u003cspan class=\"name-list\"\u003e\u003cspan class=\"link\"\u003ePortrait of \u003cem\u003e\u003cstrong\u003eFrancisco de Reynoso\u003c\/strong\u003e\u003c\/em\u003e y Baeza. \u003c\/span\u003e \u003cspan class=\"bola bola_H\" title=\"Discendente di Ferdinando I di León e Castiglia\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"name-list\"\u003eSecretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. \u003cbr\u003eEarly XVII century.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eSmall-format portrait from the late Renaissance period.\u003c\/p\u003e\n\u003cp\u003eSpanish school.\u003c\/p\u003e\n\u003cp\u003eDim.: Cm 19 x Cm 13,5\u003c\/p\u003e\n\u003cp\u003eOil on wooden panel.\u003c\/p\u003e\n\u003cp\u003eOn the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment.\u003c\/p\u003e\n\u003cp\u003eCirca 1600-1610.\u003c\/p\u003e\n\u003cp\u003eAs often in Mannerist \/ Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here:\u003c\/p\u003e\n\u003cp\u003eDON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?)\u003c\/p\u003e\n\u003cp\u003e(1534, Autillo de Campos, Spain - 1601, Córdoba)\u003c\/p\u003e\n\u003cp\u003eFrancisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba.\u003c\/p\u003e\n\u003cp\u003eHe was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid.\u003c\/p\u003e\n\u003cp\u003eFrancisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination towards religion and piety from an early age.\u003c\/p\u003e\n\u003cp\u003eHe studied Latin, arts, and theology at the University of Salamanca.\u003c\/p\u003e\n\u003cp\u003eIn 1562, he traveled to Rome with his brothers Pedro and Luis.\u003c\/p\u003e\n\u003cp\u003eIn January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary.\u003c\/p\u003e\n\u003cp\u003eAfter Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuele was a canon.\u003c\/p\u003e\n\u003cp\u003eHe supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books.\u003c\/p\u003e\n\u003cp\u003eDuring the brief outbreak of the Black Plague in 1580, he personally tended to the poor and sick in the city, bringing them food and making their beds. He also contributed to the establishment of the school for English seminarians in Valladolid.\u003c\/p\u003e\n\u003cp\u003eAs abbot of Husillos, he sold tapestries, silverware, carpets, and other household items to give alms, according to a 1591 report by the archdeacon of Toledo, Francisco de Ávila, to King Philip II.\u003c\/p\u003e\n\u003cp\u003eIn 1597, he was appointed bishop of Córdoba, on the recommendation of Philip II. During his episcopate, he completed the vault of the choir in the Cathedral of Córdoba and was known for his austerity and charity towards the poor, the sick, and prisoners.\u003c\/p\u003e\n\u003cp\u003eBishop Reynoso's family held various important positions: his brother Pedro succeeded as the eighth Lord of Autillo de Campos, his brother Manuel was a canon of the Cathedral of Palencia, his brother Miguel was governor of the city of L'Aquila in the Kingdom of Naples, and his brother Luis de Reynoso was a captain of the Tercio in Maastricht. Luis also served as a captain of one of the five companies that belonged to the flags of Naples in the Battle of Lepanto under the Tercio Costa de Granada.\u003c\/p\u003e\n\u003cp\u003eAdditionally, in 1559, two of his sisters were condemned by the Inquisition in a unique case: his sister Catalina de Reynoso y Baeza, a nun of the convent of Belén in Valladolid, was accused of Lutheranism. In controversial statements made by other nuns of the same convent, it was claimed that she sang verses to the god Baal while they sang in the choir. Besides the accusation of Lutheranism, it was mentioned that their mother, Doña Juana de Baeza, descended from converted Jews. Catalina was sentenced to house arrest for being a fictitious confessor, confessed, and died in 1559 at the age of 21 by garrote vil before being burned. His other sister, Francisca de Reynoso (also known as Francisca de Zúñiga), was convicted of Lutheranism and burned in an auto-da-fé, permanently deprived of her active and passive vote, and confined to her convent.\u003c\/p\u003e\n\u003cp\u003eMost likely, these actions were taken to eliminate the center of Lutheranism in Valladolid, led by the \"Alumbrados,\" a Protestant group to which the family of Gonzalo Pérez de Cazalla y Vivero, husband of Inés de Reynoso y Baeza, belonged.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48493669744968,"sku":"","price":2000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/0AB95B1A-B3FA-4C9A-BC4C-8F31ED2C314A.jpg?v=1716485710"},{"product_id":"military-camp-scene-and-battle-pietro-graziani-xvii-xviii-century-entourage","title":"🎈SOLD Military Camp Scene and Battle. Pietro Graziani (XVII\/XVIII century), entourage.","description":"\u003cp\u003e2 paintings : Military Camp Scene and Battle.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePietro Graziani\u003c\/strong\u003e (XVII\/XVIII century), entourage.\u003c\/p\u003e\n\u003cp\u003eA pair ( two) of small paintings. \u003cbr\u003eAntique XIX century frames in gilt wood. \u003c\/p\u003e\n\u003cp\u003eIn good condition.\u003c\/p\u003e\n\u003cp\u003eOil on canvas.\u003c\/p\u003e\n\u003cp\u003eCanvas relined \u003c\/p\u003e\n\u003cp\u003eDimensions with frame each H 34cm x L 26cm\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions without frame each H 26cm x L 17 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBoth paintings have the same size, and are painted by the same artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn one of the paintings we see a messenger pointing to a \u003cstrong\u003ehorseman\u003c\/strong\u003e with his hand at some movements he has just seen, or bringing news of losses. The scene conveys a sense of the speed of what is happening; in the distance, we can see clouds of smoke, the outlines of banners against the background of blue distances, a city in the distance, a hilly landscape. The horseman is dressed in armor, his \u003cstrong\u003ehelmet\u003c\/strong\u003e has feathers, as does the horse's uniform. In the background, we can see a recently overturned cart, traces of violent and brutal battles.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cbr\u003eIn the second work, the scene unfolds in a \u003cstrong\u003emilitary camp\u003c\/strong\u003e, with \u003cstrong\u003etents\u003c\/strong\u003e, where an escape and pursuit of a man in a \u003cstrong\u003eturban\u003c\/strong\u003e and colorful clothes of the Eastern style takes place, possibly a\u003cstrong\u003e Turk \u003c\/strong\u003etrying to steal the banners. Behind him, a warrior on a horse has already raised his sword to stop the fugitive.\u003cbr\u003eIn both compositions there is a sense of speed, time, speed are felt very sharply. The intensity and lightning speed of what is happening are masterfully embodied in the painting technique: before us is almost a sketch in technique, each of the brush strokes is a bundle of emotion and movement. These painting techniques are very bold and foreshadow the painting of a later period. But they certainly draw on the traditions of Neapolitan painting, especially Salvator Rosa, an extraordinary artist, as well as a poet and philosopher.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eFRANCESCO AND PIETRO GRAZIANI\u003c\/p\u003e\n\u003cp\u003eThere were 2 painters active in Naples and Rome between the end of the seventeenth century and the beginning of the eighteenth century.\u003c\/p\u003e\n\u003cp\u003eUnder the appellation of \"Ciccio Graziani\", or more simply \"Ciccio Napoletano\", some small-format battles have been listed, since the eighteenth century in the inventories of famous private collections, then partly became public, some battles of small format, characterized by an unmistakable stylistic and executive imprint. There are examples preserved in the Florentine museums, the couple of the Galleria Pallavicini in Rome, many others in the well-known museums, Italian, from the Capitolina and the Corsini of Rome, the Bardini in Florence, the Civico di Deruta, to the art galleries of Naples and Prato, as well as many foreigners (Geneva, Grenoble, Nantes, Schleissheim, etc.), up to the Waltes Art Gallery in Baltimore.\u003c\/p\u003e\n\u003cp\u003eGraziani, cited in ancient sources with their specific qualification as \"Battaglista\", are clearly two: one of these sources briefly by Pietro, saying he does not know if he was a spouse or son of Ciccio Graziano who left works in churches in Rome. This in fact is also remembered by E: Titi, as famous for battles.\u003c\/p\u003e\n\u003cp\u003eWhile therefore having to recognize with confidence the activity of two battaglists Graziani, only homonymous or more likely close relatives, both Neapolitans, if not born at least from school, remains the incontrovertible finding that most of the paintings, today gathered under the name of Ciccio Graziani (or, Neapolitan), denounce a late-sixteenth-century matrix, already inclined to eighteenth-century solutions, making use of Neapolitan inventiveness, from the Falcone to Rosa, decidedly reinforced by the direct knowledge of the Borgognone.\u003c\/p\u003e\n\u003cp\u003ePresentations on clear landscaped backgrounds with eventful and crowded scenes of chivalry, whose characters, outlined with a quick and nervous, almost artificial stroke, anticipate the painting of the eighteenth century,\u003c\/p\u003e\n\u003cp\u003eBoth in the smaller format with early anticipation of the rococo taste and in the rapid executive way, which draws inspiration from Neapolitan inventiveness, from the Falcone to Salvator Rosa, reinforced by direct knowledge of the battles of the Borgonone.\u003c\/p\u003e\n\u003cp\u003eEven today, it is often problematic to attempt a distinction between a senior Graziani (Francesco) and a junior (Pietro) on the basis of style and above all more elaborate settings and executions, compared to the others more rapid and concise. As mentioned, the appellation of \"Ciccio Napoletano\" was probably used since the eighteenth century, by the will of Pietro himself, or for an exquisite practice in the same specific collecting (it usually appears in the Corsini inventories).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":48559722496328,"sku":"","price":2000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/12D126A7-553F-44CE-888A-D960F660E4CF.jpg?v=1766283368"},{"product_id":"madonna-and-child-with-saints-sebastian-and-roch-attributed-to-francesco-rizzo-da-santacroce-active-between-1507-and-1545-venice","title":"Madonna and Child with Saints Sebastian and Roch Attributed to Francesco Rizzo da Santacroce (active between 1507 and 1545), Venice","description":"\u003cp\u003eSold 🎈\u003c\/p\u003e\n\u003cp\u003eMadonna and Child with Saints Sebastian and Roch\u003cbr\u003eAttributed to Francesco Rizzo da Santacroce (active between 1507 and 1545), Venice, first half of the 16th century. Technique: oil on wooden panel.\u003c\/p\u003e\n\u003cp\u003eThe painting depicts the Madonna at the center, holding the Christ Child in her arms, with Saint Sebastian to her left and Saint Roch to her right. Both saints, traditionally considered protectors against the plague, suggest a devotional intent connected to a prayer for protection from illness, especially relevant during the frequent outbreaks of the 16th century.\u003c\/p\u003e\n\u003cp\u003eThe scene is bathed in a very clear light, typical of Venetian Renaissance painting, with a skillful use of colors, particularly in the red of the Madonna’s mantle, which stands out against the natural landscape in the background. The Virgin’s face is characterized by an expression of tenderness and spiritual contemplation, while the Child is portrayed in a lively and dynamic pose.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe panel is particularly noteworthy for its solidity: it has not suffered any deformations, a sign of the careful craftsmanship. This is rare, as many wooden paintings of the time suffer from cracks or warping. The ultraviolet analysis revealed very few restorations, confirming an exceptional state of preservation, superior to the average for paintings of this era and school.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eOn the reverse, a cursive inscription mentions a nun, likely Franciscan.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eFrancesco Rizzo da Santacroce belonged to the Santacroce dynasty, a family of artists active in Renaissance Venice, whose patriarch, Girolamo da Santacroce, inherited the workshop of Giovanni Bellini, master of the Venetian school. Francesco is distinguished by his adherence to the style of Bellini’s followers, marked by compositional sweetness and a masterful use of chromatic tones. The influence of Bellini’s workshop is evident in the harmonious construction of the figures and the luminous, serene landscape in the background.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49170104156488,"sku":"","price":7500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/IMG_6607.jpg?v=1728195564"},{"product_id":"gouache-of-a-shipwreck-in-a-storm-with-gothic-ruins-early-19th-century","title":"Gouache of a Shipwreck in a Storm with Gothic Ruins, Early 19th Century","description":"\u003cp\u003e\u003cem\u003eGouache of a Shipwreck in a Storm with Gothic Ruins, Early 19th Century\u003c\/em\u003e\u003cbr\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e\u003cspan\u003e Gouache on paper\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003ePeriod:\u003c\/strong\u003e\u003cspan\u003e Early 19th century\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDescription:\u003c\/strong\u003e\u003cspan\u003e This romantic painting depicts a dramatic scene where the stormy sea engulfs large ships, while small human figures on the shore desperately struggle to survive. Nature reigns supreme as vegetation starts to envelop the Gothic ruins on the promontory, symbolizing the triumph of nature over human constructions. The tiny figures, dwarfed by the vast landscape, emphasize the contrast between human fragility and the unstoppable power of the elements.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe stormy sky is illuminated by a dusky pink light, heightening the unsettling atmosphere of the scene. This dramatic lighting enhances the contrast between the violence of the storm and the delicate hues.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eFrame:\u003c\/strong\u003e\u003cspan\u003e Modern frame with green velvet passe-partout, enhancing the chromatic contrasts of the painting.\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDimensions with frame:\u003c\/strong\u003e\u003cspan\u003e L 57 cm x H 46 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eDimensions without frame:\u003c\/strong\u003e\u003cspan\u003e L 43 cm x H 32 cm\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e\u003cspan\u003e Excellent. The patina of time enriches the atmosphere without compromising the readability of the artwork.\u003c\/span\u003e\u003cstrong\u003eTechnique:\u003c\/strong\u003e\u003cspan\u003e Gouache on paper\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49265773609288,"sku":null,"price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/CA4CBB11-33EA-4150-90F1-98B09719F472.jpg?v=1729754151"},{"product_id":"two-portrait-busts-of-19th-century-neapolitan-aristocrats-charles-x-era-circa-1820","title":"Two Portrait Busts Of 19th Century Neapolitan Aristocrats. Charles X Era, Circa 1820.","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eRESERVED \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTwo portrait busts of 19th century Neapolitan aristocrats.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eCharles X era, circa 1820. Material: plaster.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMaximum height 67cm\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIt depicts two portraits, modeled by a sculptor in the late Empire era, which depict two aristocrats from Southern Italy.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe Neapolitan origin of the two sculptures suggests the probable proximity of the figures to Bourbon environments. Sophisticated lady's hairstyle with double braid, attention to the costume, gives a strict look, but with luxury elements of clothing.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWhile the male bust, perhaps still under the influence of the more purely neoclassical style, has a more \"heroic\" appearance, invested with more civic virtues, with a proud, decisive appearance and of great character.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe two busts have certainly had many vicissitudes: there are traces of old restorations on the woman's neck, remnants of old dark colour, grease in the depressions and wounds, we can imagine that according to fashion they were painted in fake bronze at the end of the 19th century.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAll this overlapping of layers gives a charm and patina of an ancient object, not excessively and not obsessively restored.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49735035388232,"sku":"","price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/1461543-main-67692e7fd43b7_ec99efd8-4bda-4502-b118-09b9d122cfc3.jpg?v=1737711080"},{"product_id":"portrait-of-a-noble-lady-in-a-silk-dress-with-bamberg-seal-german-school-1820s-height-220-cm","title":"Portrait of a Noble Lady in a Silk Dress, with Bamberg Seal. German School, 1820s. Height 220 cm.","description":"\u003cp\u003e🟡 RESERVED Portrait of a Noble Lady in a Silk Dress, with Bamberg Seal. German School, 1820s. Height 220 cm.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePeriod\u003c\/strong\u003e: 1820s\u003c\/p\u003e\n\u003cp\u003eGerman School\u003c\/p\u003e\n\u003cp\u003eLarge oil on canvas depicting a noble lady seated, dressed in a \u003cstrong\u003ewhite silk gown\u003c\/strong\u003e with puffed sleeves, characteristic of early 1820s fashion. The luxurious fabric and flowing silhouette emphasize her high social status. A \u003cstrong\u003eKashmir shawl\u003c\/strong\u003e draped over her shoulder adds refinement, while the detail of \u003cstrong\u003edouble bracelets\u003c\/strong\u003e on both wrists confirms a style that faded away by the late 1820s. Her \u003cstrong\u003ecenter-parted hairstyle with defined curls\u003c\/strong\u003e follows the aesthetic conventions of the period.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThe lady is portrayed in an open architectural space featuring a \u003cstrong\u003eclassical column\u003c\/strong\u003e, reflecting the lingering influence of Neoclassicism in the early 19th century. To the left, the background opens onto a \u003cstrong\u003esmall lake with trees and hills\u003c\/strong\u003e, evoking the Romantic appreciation for nature.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFrame\u003c\/strong\u003e:\u003cbr\u003eOriginal giltwood frame, consistent with the period.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA \u003cstrong\u003ered wax seal with a crown and interlaced letters\u003c\/strong\u003e is present on the back, indicating a connection to the city of \u003cstrong\u003eBamberg\u003c\/strong\u003e, possibly suggesting a noble or institutional origin.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eGood overall condition, with well-preserved colors and details. The frame exhibits minor wear consistent with its age.\u003c\/p\u003e\n\u003cp\u003eThe painting has already obtained a regular \u003cstrong\u003eCertificate of Free Circulation\u003c\/strong\u003e issued by the Ministry.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHeight 220 cm.\u003c\/p\u003e\n\u003cp\u003eDimensions witout frame cm 178 x cm 110\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eThis portrait, executed within the German school, accurately captures the elegance of aristocratic fashion in the 1820s. The painterly quality, the luxurious textiles, and the presence of the Bamberg seal enhance its historical and collectible value.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":49772469682504,"sku":"","price":9500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/telo.jpg?v=1741100414"},{"product_id":"portrait-of-man-with-gloves-before-a-column-leiden-school-late-17th-century","title":"Portrait of Man with Gloves before a Column — Dutch School, late 17th century. Signed Nicolas Maes","description":"\u003cp\u003ePortrait of Man with Gloves before a Column, Dutch School, ca. 1680\u003c\/p\u003e\n\u003cp\u003eOil on oak panel. Dimensions: 29 × 39 cm; with frame: 40.5 × 51 cm.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eThis painting depicts a middle-aged man dressed in a dark coat with a broad white lace-trimmed collar, typical of the Protestant bourgeois elite of Leiden in the late 17th century. The pose is composed and dignified: the sitter is placed in front of a rich red drapery, with a column and a distant landscape in the background — elements that evoke a cultivated and prosperous context.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eIn his right hand he holds a pair of fine leather gloves, likely suede, painted with soft brushstrokes that convey the delicate texture of the material. This detail indicates a high social status and discreet elegance. On his ring finger he wears a seal ring bearing a family coat of arms, further emphasizing his position within an affluent class.\u003c\/p\u003e\n\u003cp\u003eThe painter demonstrates remarkable technical virtuosity in the depiction of the hand, rendered with lifelike flesh tones, subtle light, and precise anatomical detail — a hallmark of portraiture in the United Provinces, where the treatment of hands often signalled the painter’s mastery. The architectural column in the background reinforces the idea of a refined setting, alluding to humanist culture and classical taste.\u003c\/p\u003e\n\u003cp\u003eLater frame in wood,.\u003c\/p\u003e\n\u003cp\u003eCondition: good, with period patina and minor signs of age.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":50697901703496,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/9E721236-84BB-40F4-9906-78B22A46F6F1.jpg?v=1750094531"},{"product_id":"dutch-golden-age-scene-soldiers-sharing-spoils-circle-of-duyster-17th-c-panel","title":"Dutch Golden Age Scene – Soldiers Sharing Spoils, Circle of Duyster, 17th c. Panel","description":"\u003cp\u003e\u003cspan\u003eDivision of the Spoils in a Military Encampment\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCircle of Willem Cornelisz. Duyster (Amsterdam 1599 – 1635)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDutch school, late 17th – early 18th century\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on oak panel\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensions: H 37.5 cm × W 63 cm\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBrigands or soldiers? The uniforms suggest military order, the gestures evoke looting. In a makeshift camp, armed men divide a luxurious spoils – silverware, embroidered fabrics, jewels – examining each item one by one, like animated still-life objects. A standing officer oversees the scene, while those around him move quickly, silently, caught between discipline and desire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis subject belongs to the Dutch tradition of military scenes, particularly those associated with Willem Cornelisz. Duyster. The composition echoes a well-known prototype, Interior with Soldiers Dividing the Spoils (c. 1625–30), which was widely reproduced in later decades. Known versions are held at Luton Hoo (Wernher Collection, RKD), the William Benton Museum of Art (signed “WD”), the former Koenigs Collection (as noted by Hofstede de Groot), and appeared in sales at Christie’s (1969, Van Alen Collection) and Sotheby’s New York (1979).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe horizontal format is used to full narrative effect, guiding the viewer’s eye through a scene structured like a silent drama. The rendering of materials – metal, textiles, weapons – reflects the refined detail typical of Dutch painting from the late 17th century. The painting has not been recorded in public collections or auction records and likely remained for a long time in a private collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOriginal oak panel, horizontal format, uncradled. The painted surface shows a stable and consistent craquelure, light abrasions at the edges, and some old retouching. Structurally sound and visually well preserved.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":50997807907144,"sku":null,"price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/8A575340-A932-4ADF-AB8A-284E8DC423F9.jpg?v=1753464749"},{"product_id":"view-of-a-french-belle-epoque-city-with-bridge-and-monument-1923-cm-68-58-cm","title":"View of a French Belle Époque city with bridge and monument, 1923, cm 68 × 58 cm","description":"\u003ch3 data-start=\"89\" data-end=\"181\"\u003eView of a French Belle Époque city with bridge and monument, 1923, 68 × 58 cm with frame\u003c\/h3\u003e\n\u003cp data-start=\"183\" data-end=\"740\"\u003eSigned and dated 1923, this painting depicts a \u003cstrong data-start=\"230\" data-end=\"271\"\u003eFrench city in the early 20th century\u003c\/strong\u003e, suspended between 19th-century heritage and the atmospheres of the \u003cstrong data-start=\"340\" data-end=\"372\"\u003eBelle Époque and Art Nouveau\u003c\/strong\u003e. The urban scene opens onto a wide ochre-toned square, crossed by a bridge leading to a \u003cstrong data-start=\"461\" data-end=\"504\"\u003ecorner building with the sign “Musique”\u003c\/strong\u003e, likely a music shop. At the centre stands a monument with a draped male figure beside a sphere; at its base appears the \u003cstrong data-start=\"626\" data-end=\"665\"\u003esolitary figure of an elderly woman\u003c\/strong\u003e, introducing a subtle note of melancholy into the silence of the square.\u003c\/p\u003e\n\u003cp data-start=\"742\" data-end=\"1401\"\u003eOn the left side a \u003cstrong data-start=\"761\" data-end=\"798\"\u003eliberty-style wrought-iron canopy\u003c\/strong\u003e recalls the early 20th-century taste for elegant urban structures, while around the square rise buildings with \u003cstrong data-start=\"910\" data-end=\"971\"\u003eslate mansard roofs, dormer windows and numerous chimneys\u003c\/strong\u003e. The façades, alternating ochre with large red-brick surfaces, are arranged like theatrical backdrops. What stands out is the \u003cstrong data-start=\"1098\" data-end=\"1167\"\u003earchitectural wisdom with which the artist builds the urban space\u003c\/strong\u003e: clear perspectives, calibrated volumes and precisely drawn details give the painting the solidity of a project conceived with the eye of an architect. In the distance, a hilly relief connects the city to the surrounding landscape.\u003c\/p\u003e\n\u003cp data-start=\"1403\" data-end=\"1535\"\u003eOil on canvas, signed lower right “B. Vandenmüller” and dated 1923.\u003cbr data-start=\"1470\" data-end=\"1473\"\u003eDimensions: 55 × 46 cm without frame; 68 × 58 cm with frame.\u003c\/p\u003e\n\u003cp data-start=\"1537\" data-end=\"1580\"\u003ePeriod giltwood frame.\u003cbr data-start=\"1559\" data-end=\"1562\"\u003eCondition: good.\u003c\/p\u003e\n\u003cp data-start=\"1582\" data-end=\"1895\"\u003eLittle is known about \u003cstrong data-start=\"1604\" data-end=\"1623\"\u003eB. Vandenmüller\u003c\/strong\u003e, a painter active in the early decades of the 20th century. This work nonetheless remains a rare testimony of French urban painting between the wars, where \u003cstrong data-start=\"1780\" data-end=\"1846\"\u003emonumentality, Belle Époque atmosphere and architectural rigor\u003c\/strong\u003e intertwine with an intimate, melancholic tone.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51357986914632,"sku":"PAESAGGIO-1920-Vandenmüller","price":400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/E2887D7D-2F57-4730-AB2D-44DDBDFCA4F9.jpg?v=1757508121"},{"product_id":"pietro-bardellino-pastoral-scene-with-a-figure-in-oriental-costume","title":"Pietro Bardellino. Pastoral Scene with a Figure in Oriental Costume","description":"\u003ch3 data-start=\"2039\" data-end=\"2097\"\u003e\u003cstrong data-start=\"2043\" data-end=\"2095\"\u003ePastoral Scene with a Figure in Oriental Costume\u003c\/strong\u003e\u003c\/h3\u003e\n\u003cp data-start=\"2098\" data-end=\"2208\"\u003eOil on canvas, 62 × 136.5 cm\u003cbr data-start=\"2126\" data-end=\"2129\"\u003eAttributed to Pietro Bardellino (Naples, 1728–1819)\u003cbr data-start=\"2180\" data-end=\"2183\"\u003eNaples, circa 1755–1760\u003c\/p\u003e\n\u003cp data-start=\"2210\" data-end=\"2641\"\u003eThis refined painting belongs to the Neapolitan Rococo period, when court painting turned toward lighter, more worldly themes. The bucolic scene depicts three young figures in a theatrical attitude: at the center a woman receives a basket of fruit, while on the right a youth dressed in white with a red turban introduces an exotic and playful note, inspired by the contemporary taste for \u003cem data-start=\"2599\" data-end=\"2611\"\u003eturqueries\u003c\/em\u003e and theatrical masquerades.\u003c\/p\u003e\n\u003cp data-start=\"2643\" data-end=\"3148\"\u003ePietro Bardellino worked in Naples under the \u003cstrong data-start=\"2688\" data-end=\"2707\"\u003eBourbon dynasty\u003c\/strong\u003e, which ruled the Kingdom of Naples and Sicily from 1734 to 1860. His style combined the graceful Neapolitan tradition with northern European influences introduced at the court of \u003cstrong data-start=\"2887\" data-end=\"2915\"\u003eMaria Carolina of Saxony\u003c\/strong\u003e, wife of \u003cstrong data-start=\"2925\" data-end=\"2957\"\u003eKing Ferdinand IV of Bourbon\u003c\/strong\u003e (later Ferdinand I of the Two Sicilies). His softly contoured figures and delicate pastel tones reveal a luminous, decorative sensibility reflecting the cosmopolitan refinement of the age.\u003c\/p\u003e\n\u003cp data-start=\"3150\" data-end=\"3340\"\u003eBy its format and subject, the painting was likely part of a decorative ensemble for a \u003cstrong data-start=\"3237\" data-end=\"3275\"\u003evilla or musical salon near Naples\u003c\/strong\u003e, where art, theater, and nature were harmoniously intertwined.\u003c\/p\u003e\n\u003cp data-start=\"3342\" data-end=\"3726\"\u003e\u003cstrong data-start=\"3342\" data-end=\"3375\"\u003ePietro Bardellino (1728–1819)\u003c\/strong\u003e was among the leading painters of the Neapolitan Rococo. A pupil of \u003cstrong data-start=\"3444\" data-end=\"3465\"\u003eFrancesco De Mura\u003c\/strong\u003e, he decorated Bourbon churches and royal residences, distinguished by his elegant frescoes and airy palette. His work transformed the Baroque heritage into a lighter, ornamental language akin to the refined taste of European courts of the eighteenth century.\u003c\/p\u003e\n\u003cp data-start=\"3342\" data-end=\"3726\"\u003eDimensions with frame : 148cm x 72cm\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51860449132872,"sku":null,"price":9000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/bardellinoIMG_5830.png?v=1761572165"},{"product_id":"senza-titolo-2nov_11-35","title":"Saint John the Evangelist on Patmos. Apocalyptic Vision with the Virgin and the Dragon, Flemish School, ca. 1620","description":"\u003cp\u003e\u003cspan\u003eSOLD\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSaint John the Evangelist on Patmos. Apocalyptic Vision with the Virgin and the Dragon, Flemish School, ca. 1620\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on copper, 30 × 22.5 cm (without frame)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFlanders, first third of the 17th century\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFollower of Maarten de Vos (Antwerp, 1532–1603)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSaint John the Evangelist is depicted seated on the island of Patmos, beside his eagle, writing the Book of Revelation. Above him unfolds the celestial vision of the Virgin “clothed with the sun,” crowned with stars and confronted by the red seven-headed dragon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe composition is based on the celebrated engraving by Johann Sadeler I, executed around 1580 after a lost design by Maarten de Vos. That print, widely circulated in Antwerp and northern Europe, became a key source for later Flemish interpretations of the Apocalypse. In this version, the painter reinterprets the model with personal invention and atmospheric freedom, enriching it with a luminous landscape and refined color harmonies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe angels surrounding the Virgin, rendered with silvery transparencies and almost spectral bodies, form a remarkably original element within early seventeenth-century Flemish painting. Their ghost-like presence suspended in light suggests both imagination and technical mastery.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe background with its arched bridge and calm waters blends natural observation and inventive fantasy. The dragon, with its winding and decorative form, adds a mannerist, visionary accent to the sacred vision.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis small copper painting exemplifies the virtuosity of Flemish artists who exploited the reflective properties of the metal support. The copper-based greens, with shimmering emerald and turquoise hues, contrast with the deep reds and golden highlights enlivening draperies and architecture, creating an inner radiance of remarkable intensity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCondition: the Virgin’s robe and some marginal areas show very delicate retouching, due to the naturally lower adhesion of pigments on copper. Overall, the painting preserves an exceptional chromatic vitality and remains in good condition, with its original brilliance largely intact.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51913088205128,"sku":null,"price":2000.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/2046645B-D24D-44C2-8D91-5ABF659E06A3.jpg?v=1762083743"},{"product_id":"romantic-portrait-of-a-woman-in-oriental-dress-among-greek-ruins-ca-1840","title":"🎈SOLD Romantic Portrait of a Woman in Oriental Dress among Greek Ruins, ca. 1840","description":"\u003cp\u003e\u003cspan\u003eFemale Figure in Oriental Dress among the Ruins of Romantic Greece\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOil on canvas, 61 × 46 cm (without frame), 74 × 57 cm (with frame)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEarly to mid-19th century\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA young woman stands among classical ruins, dressed in an oriental-inspired costume with a gold-tasseled headdress, sheer sleeves, and pointed shoes. Her graceful posture, poised between theatricality and melancholy, evokes the romantic fascination with the East and the lost grandeur of ancient Greece. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe work belongs to the climate of Philhellenism, a cultural movement that spread across 19th-century Europe in support of the Greek struggle against the Ottoman Empire.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eMedora\u003c\/strong\u003e — beautiful and sorrowful, among natural ruins and engraved memories — closely resembles the mood of this painting, echoing the gestures of longing and solitude found in Byron’s heroines gazing toward the sea. Likewise, \u003cstrong\u003eHaidée\u003c\/strong\u003e, the young Greek from Don Juan, embodying sweetness and ideal freedom, seems reflected in this vision of romantic melancholy and imagined escape.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe presence of a wedding ring on the woman’s hand, however, suggests that this may not be a purely allegorical figure but rather a real portrait. It could, in a plausible hypothesis, represent \u003cstrong\u003eGiuseppina Turrisi Colonna\u003c\/strong\u003e (Palermo, 1822–1848), a prominent Italian poet and intellectual. A young woman of letters and the stage, she shared with her husband, Giuseppe De Spuches — a Hellenist and admirer of \u003cstrong\u003eByron\u003c\/strong\u003e — a deep passion for Greek culture and romantic literature. The costume could thus allude to a theatrical performance or literary impersonation of a Byronic heroine within a philhellenic and artistic context.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIn this sense, the composition recalls the allegorical model established by Delacroix, where the oriental woman among ruins became an emblem of Greece herself. During the 1820s and 1830s, numerous artists adopted this visual language, following Delacroix’s celebrated Greece on the Ruins of Missolonghi (1826), painted as a tribute to Byron, who had died in Missolonghi in 1824. In Paris, several “Exhibitions for the Benefit of the Greeks” presented both historical scenes from the Greek War of Independence and subjects drawn from Byron’s poetry, underscoring the inseparable bond between Romanticism and the philhellenic ideal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRelined canvas, in good condition.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":51959702290760,"sku":null,"price":1500.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/724F0719-3A4F-4A9B-AC02-15BD73486E6E.jpg?v=1764302822"},{"product_id":"onofrio-boni-cortona-1739-firenze-1815-progetto-per-edificio-rotondo-destinato-al-gruppo-della-niobe-firenze-circa-1773","title":"Onofrio Boni (Cortona, 1739 – Firenze, 1815)\nProgetto per edificio rotondo destinato al gruppo della Niobe, Firenze, circa 1773","description":"\u003cp\u003e\u003cspan\u003eOnofrio Boni (Cortona, 1739 – Firenze, 1815)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eProgetto per edificio rotondo destinato al gruppo della Niobe, Firenze, circa 1773\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eInchiostro, grafite e velature ad acquerello su carta vergata.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMisure del foglio: 44 x 29 cm circa.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCon cornice: 76 x 54 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRaro disegno architettonico riferibile a Onofrio Boni, figura della Toscana lorenese, attivo come architetto, antiquario e uomo di lettere tra Cortona e Firenze nella seconda metà del XVIII secolo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl foglio presenta una fase preliminare del progetto per un edificio rotondo destinato ad accogliere il celebre gruppo della Niobe, uno dei nuclei scultorei antichi più importanti delle collezioni granducali fiorentine. L’interesse dell’opera non è soltanto architettonico, ma anche museografico: il progetto riflette la nuova attenzione settecentesca per l’allestimento e la valorizzazione delle antichità.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa composizione riunisce alzato e pianta nello stesso foglio, con portico colonnato, scale concentriche, nicchie laterali e cupola sommitale. Sono visibili calcoli proporzionali, linee di costruzione e appunti marginali, che conferiscono al disegno il carattere di foglio di lavoro.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUna fase successiva e più compiuta dello stesso progetto è pubblicata in Carlo Cresti, La Toscana dei Lorena. Politica del territorio e architettura, fig. 99, con la dicitura: “O. Boni, progetto di edificio rotondo per collocare il gruppo della Niobe, 1773”. Nel nostro foglio il motivo trionfale superiore è ancora solo accennato a matita sul lato destro, mentre sulla sommità della cupola compare già il giglio; nella versione pubblicata, invece, il motivo trionfale risulta pienamente sviluppato e collocato sopra l’edificio. Questo elemento rende il disegno particolarmente interessante come testimonianza di una fase progettuale anteriore.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato generale, con naturali segni del tempo, leggere ondulazioni, piccole usure marginali e tracce compatibili con la natura di foglio di studio.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan\u003eOpera di notevole interesse per collezionisti di disegni d’architettura, storia di Firenze, Granducato di Toscana e cultura neoclassica del Settecento.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":52989869097288,"sku":null,"price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/8FF91AA5-15CE-400E-9965-E6F0B6FA5A15.jpg?v=1777309999"},{"product_id":"santa-caterina-e-san-giovanni-due-ante-di-polittico-scuola-fiamminga-xvi-secolo","title":"Santa Caterina e San Giovanni, due ante di polittico, scuola fiamminga, XVI secolo","description":"\u003cp\u003e\u003cspan\u003e🎈SOLD \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSanta Caterina e San Giovanni, due ante di polittico, scuola fiamminga, XVI secolo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSanta Caterina d’Alessandria e San Giovanni Evangelista\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eScuola fiamminga\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eXVI secolo\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDue pannelli in origine ante laterali di polittico.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOlio su tavola di rovere\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eSan Giovanni: cm 67 × 19,5\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eSanta Caterina: cm 67 × 21\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBella coppia di tavole raffiguranti Santa Caterina d’Alessandria e San Giovanni Evangelista. Il santo reca il calice con il serpente, allusione al veleno reso innocuo dal segno della croce. Santa Caterina appare incoronata, con il libro e la ruota dentata del martirio visibile al fianco, secondo la sua tradizionale iconografia di principessa sapiente e martire cristiana.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEseguite su tavole di rovere, secondo un uso proprio della pittura fiamminga e nordica, le opere mostrano tuttavia una conoscenza di modelli dell’Italia settentrionale. I panneggi dalle ombre profonde, i tagli netti e la presenza plastica delle figure suggeriscono un interessante incontro tra cultura fiamminga e influssi lombardi o padani.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLe proporzioni slanciate, il paesaggio aperto e la struttura stessa dei pannelli conservano tuttavia un carattere nettamente settentrionale. Per formato e funzione, questi elementi dovevano appartenere in origine a un complesso più ampio, probabilmente come ante laterali di un polittico.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAl verso le tavole presentano tracce di un antico parchettaggio, intervento oggi quasi del tutto abbandonato dai restauratori poiché tendeva a costringere il legno entro una struttura troppo rigida. In occasione di un restauro antico i pannelli furono con ogni probabilità assottigliati per limitare le naturali deformazioni e l’inarcamento del supporto. Tale intervento ha modificato lo spessore della tavola, senza incidere sul buono stato di conservazione della pittura.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato di conservazione, con segni del tempo coerenti con l’epoca.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53005065617736,"sku":null,"price":3400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/0E2EF769-2476-43E8-899D-642B572028D6.jpg?v=1777455351"},{"product_id":"scuola-olandese-xvii-secolo-paesaggio-montuoso-e-viandanti-ambito-di-ruysdal","title":"Scuola olandese, XVII secolo – Paesaggio montuoso e viandanti, ambito di Ruysdal","description":"\u003cp\u003ePaesaggio montuoso con viandanti. Scuola olandese, ambito di Jacob Ruysdal\u003c\/p\u003e\n\u003cp\u003eDatabile tra gli anni 1670 e  inizio del XVIII secolo. \u003c\/p\u003e\n\u003cp\u003e(cm 111 × 75 con cornice; 103 × 65 senza cornice)\u003c\/p\u003e\n\u003cp\u003eIl dipinto presenta un paesaggio riconducibile alla tradizione nordica: un grande albero scuro occupa il primo piano, un sentiero è percorso da due viandanti e, sullo sfondo, montagne e case bianche emergono nella zona più luminosa della scena. L’incontro tra la verticalità dell’albero e il cielo agitato genera un effetto decisamente drammatico.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eLa tecnica rimanda alla scuola olandese, in particolare all’ambito dei seguaci di Jacob van Ruysdal (Haarlem, 1628\/29 – Amsterdam, 1682). Nel fogliame compaiono ampie aree di preparazione bruna, lasciate affiorare come struttura delle ombre. Su questa base l’artista applica pennellate libere, dinamiche e sovrapposte, che definiscono le masse vegetali senza puntare sulla descrizione minuta. Questa modalità, più aperta e sperimentale rispetto alla generazione immediatamente ruysdaliana, trova riscontro nella fase tarda della produzione della cerchia di Jan Looten e in altri paesaggisti olandesi attivi fra la fine del Seicento e i primi del Settecento.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eL’ambientazione montuosa e la presenza delle case bianche rimandano a una tendenza italianizzante, diffusa fra i pittori nordici dell’epoca, che ambientavano paesaggi d’invenzione in scenari più aspri o mediterranei pur mantenendo una costruzione luministica pienamente olandese. Il dipinto si inserisce così nella tradizione post-ruysdaliana, arricchita da un repertorio più ampio di motivi.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eStato di conservazione\u003c\/p\u003e\n\u003cp\u003eBuono. Minime cadute di colore non rilevanti. La superficie conserva la patina antica e lascia leggere chiaramente sia la preparazione sia le pennellate. Segno della giunzione delle due tele in bassovicinoalla cornice.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53005887832392,"sku":null,"price":1300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/DC183EF3-9E42-4A3E-B6C2-5F81CD1A2F7B.png?v=1777461735"},{"product_id":"piccolo-ritratto-di-gentiluomo-con-gilet-verde-e-cravatta-a-fiocco-circa-1825-1835-cm-22-x-17","title":"SOLD Piccolo ritratto di gentiluomo con gilet verde e cravatta a fiocco, circa 1825-1835. Cm 22 x 17","description":"\u003cp\u003e\u003cspan\u003eRitratto di gentiluomo con gilet verde e cravatta a fiocco, circa 1825-1835\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOlio su tela. Tela originale non rintelata.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eCon cornice dorata: 22 x 17 cm.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eSenza cornice: 18 x 13,5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003ePiccolo ritratto maschile dal carattere intimo e domestico, probabilmente eseguito in ambito familiare o affettivo. Il modello è raffigurato con abito scuro, gilet verde, cravatta nera a fiocco e camicia bianca plissettata chiusa da un bottone gioiello. Il taglio degli abiti, la barba e la pettinatura rimandano agli anni tra il 1825 e il 1835 circa.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eL’opera conserva il fascino raccolto dei piccoli ritratti privati del primo Ottocento, con una pittura spontanea e diretta, lontana dalla rigidità accademica. Il fondo scuro e neutro concentra l’attenzione sul volto e sull’espressione calma del personaggio. Cornice dorata antica.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53188268458312,"sku":null,"price":280.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/EE64BADC-5DE0-4E19-AF88-5234CB951E7B.jpg?v=1779886170"},{"product_id":"jean-jacques-marie-castin-1797-1869-70-ritratto-di-giovane-donna-con-cane-e-gatto-1838","title":"Jean Jacques Marie Castin (1797-1869\/70) – Ritratto di giovane donna con cane e gatto, 1838","description":"\u003cp\u003e\u003cspan\u003eRESERVED\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJean Jacques Marie Castin (Rossillon, Ain, 1797 – Lione, 1869 o 1870)\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eRitratto di giovane donna con cane e gatto, firmato e datato 1838\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOlio su tela firmato e datato « Castin 1838 » in basso a sinistra\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRitratto femminile eseguito nel 1838 dal pittore lionese Jean Jacques Marie Castin. La giovane donna è raffigurata a mezzo busto davanti a un paesaggio collinare animato da un piccolo borgo. In primo piano compare un dettaglio insolito e piacevole: un cane che rincorre un gatto, episodio che introduce una nota di movimento e spontaneità all’interno della composizione.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa figura indossa un abito scuro dalle ampie maniche, arricchito da un colletto bianco bordato di pizzo e chiuso da una piccola spilla geometrica. L’acconciatura, con bande ondulate ai lati del volto e capelli raccolti, corrisponde alla moda della fine degli anni Trenta dell’Ottocento. Gli orecchini pendenti e la delicata resa dell’incarnato testimoniano la cura riservata alla rappresentazione del modello.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLo sfondo, costruito con toni morbidi e luminosi, unisce architetture, campagna e montagne lontane. La presenza di un paesaggio così articolato conferisce all’opera un carattere che va oltre il semplice ritratto, avvicinandola per certi aspetti alla pittura di genere.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl dipinto è presentato nella sua cornice antica in legno e pastiglia dorata della prima metà del XIX secolo. La tela sembra essere stata sottoposta a un’antica rintelatura, pratica conservativa frequente per le opere su tela. Buono stato generale di conservazione.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJean Jacques Marie Castin studiò presso l’École des Beaux-Arts di Lione nell’atelier di Jean-Claude Bonnefond. Attivo principalmente a Lione, espose regolarmente ai Salon francesi tra il 1833 e il 1856. La sua produzione è dedicata soprattutto al ritratto borghese e riflette il gusto sobrio ed elegante tipico del periodo Luigi Filippo.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53210200539464,"sku":null,"price":950.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/30CC8584-D93F-46E2-B584-FA14C6A3908E.jpg?v=1780231022"},{"product_id":"studio-accademico-di-testa-di-monaca-scuola-fiorentina-fine-xviii-inizio-xix-secolo","title":"Studio accademico di testa di monaca. Scuola fiorentina, fine XVIII – inizio XIX secolo.","description":"\u003cp\u003e\u003cspan\u003eStudio accademico di testa di monaca.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eScuola fiorentina, fine XVIII – inizio XIX secolo.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMatita su carta di cotone fatta a mano.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eDimensioni: 38,5 × 53,5 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrande studio raffigurante la testa di una monaca con velo. Il volto abbassato e l’espressione raccolta conferiscono alla figura un carattere meditativo, mentre l’ampio panneggio che avvolge il capo occupa gran parte della composizione.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIl disegno proviene da una raccolta fiorentina comprendente studi anatomici, appunti e disegni di architettura, appartenuta a un’antica famiglia legata agli ambienti culturali della città.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eGrande foglio su carta di cotone fatta a mano, conservato nel suo formato originale.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato di conservazione.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53227630723400,"sku":null,"price":220.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/45D6DBA4-4849-4B73-963E-2B83E11AA4DF.jpg?v=1780501805"},{"product_id":"senza-titolo-9giu_22-53-46","title":"Ritratto a carboncino di dama con la cuffia . Circa 1830","description":"","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53257550889288,"sku":null,"price":250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/3D73CE18-67DA-4681-A59D-C84B34A9503B.jpg?v=1781038638"},{"product_id":"scenografia-architettonica-con-monumento-a-trofei-moro-prigioniero-e-leoni-amb-fontanesi","title":"Scenografia architettonica con monumento a trofei, moro prigioniero e leoni. Amb. Fontanesi","description":"\u003cp\u003e\u003cstrong\u003eScenografia architettonica con monumento a trofei, moro prigioniero e leoni. Amb. Fontanesi\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eUltimo quarto del XVIII secolo\u003c\/p\u003e\n\u003cp\u003eMatita, inchiostro bruno, acquarello e rialzi di biacca su carta\u003c\/p\u003e\n\u003cp\u003eAmbito di Francesco Fontanesi (Reggio Emilia, 1751–1795)\u003c\/p\u003e\n\u003cp\u003ecm 21,1 × 29,3\u003c\/p\u003e\n\u003cp\u003eSul verso del foglio una vecchia mano ha scritto il nome di Francesco Fontanesi (Reggio Emilia, 1751–1795), tra i maggiori scenografi italiani del suo tempo. L'attribuzione non può essere data per certa, ma trova più di un riscontro nello stile dell'opera.\u003c\/p\u003e\n\u003cp\u003eIl disegno mette in scena una città immaginaria, fatta di arcate monumentali, portici, scalinate e terrazze che si rincorrono in profondità. La profondità dello spazio è ottenuta attraverso un sapiente gioco di luci e ombre, secondo quel linguaggio scenografico caratteristico della grande tradizione veneziana del Settecento, capace di trasformare l'architettura in una suggestiva illusione prospettica.\u003c\/p\u003e\n\u003cp\u003eAl centro della composizione si distingue un monumento ornato di trofei, con un moro prigioniero che richiama il celebre Monumento dei Quattro Mori di Livorno, affiancato da due leoni dal gusto quasi egittizzante, testimonianza dell'interesse per l'esotico che caratterizzò la cultura figurativa della fine del XVIII secolo.\u003c\/p\u003e\n\u003cp\u003eÈ significativo che Fontanesi soggiornasse a Livorno nel 1790 per realizzare le scenografie della \u003cem\u003eMorte di Cesare\u003c\/em\u003e al Teatro degli Avvalorati. Pur non consentendo di collegare il foglio a quello spettacolo, questa circostanza rende ancora più suggestiva la tradizionale attribuzione riportata sul verso.\u003c\/p\u003e\n\u003cp\u003eL'insieme restituisce un'immagine di grande forza teatrale, nella quale architetture, monumenti e memorie dell'antico si fondono in uno spazio immaginario concepito per stupire lo spettatore e trasportarlo nel mondo dell'illusione scenica.\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53588319863112,"sku":null,"price":300.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/FEA5A299-5261-40EE-B86F-F3E763EC8805.jpg?v=1784902107"},{"product_id":"vladimir-polunin-1880-1957-frammento-teatrale-e-figura-femminile-dipinto-sui-due-lati","title":"Vladimir Polunin (1880–1957) – Frammento teatrale e figura femminile, dipinto sui due lati","description":"\u003cp\u003e\u003cspan\u003eVladimir Polunin (1880–1957) – Frammento di scenografia teatrale e figura femminile con tjubetejka, dipinto sui due lati\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDipinto su entrambi i lati.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eColori a tempera su tela.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDimensioni: 137 × 107 cm con cornice; 123 × 92,5 cm la tela.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eVladimir Polunin (Mosca, 1880 – Godalming, presso Londra, 11 marzo 1957) ricevette la sua prima formazione artistica in Russia, per poi perfezionarsi a Monaco di Baviera. Trasferitosi in Inghilterra, collaborò con Sergej Djagilev e con i Ballets Russes, realizzando le scenografie di alcune delle più importanti produzioni del suo tempo. Parallelamente svolse un’intensa attività come pittore ed espose regolarmente a Londra; nel 1931 partecipò inoltre a una mostra organizzata presso la galleria del principe Galitzine, uno dei principali punti di riferimento della comunità artistica russa emigrata.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eTra i maggiori pittori di scenografie teatrali del suo tempo, Vladimir Polunin traspose su vasta scala i progetti di Léon Bakst, Natalia Goncharova, Michail Larionov, Pablo Picasso, Boris Anisfeld, Alexandre Benois, André Derain e di altri protagonisti delle avanguardie europee. In un articolo pubblicato su Vogue nel 1923, Aldous Huxley ricordava inoltre le sue commissioni decorative londinesi, tra cui un sovrapporta dipinto per Eric Kennington, le pitture murali del ristorante Gorgone, il Phoenix Theatre e diversi teatri del gruppo Granada. Polunin insegnò anche pittura scenografica presso la Slade School of Fine Art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eQuesta tela conserva due momenti distinti della sua attività. Sul recto compare una figura femminile con \u003c\/span\u003e\u003cspan\u003etjubetejka\u003c\/span\u003e\u003cspan\u003e, dipinta come opera autonoma. Sul verso sopravvive invece un importante frammento di una precedente scenografia teatrale, successivamente riutilizzata dall’artista come supporto.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa composizione è dominata da una grande stella raggiante, da un misterioso essere cornuto con una stella sulla fronte e da un ampio intreccio di raggi luminosi. Si tratta di un frammento appartenente a una scenografia di grandi dimensioni, riutilizzato da Polunin come supporto per il dipinto eseguito sul recto.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eUn altro frammento appartenente alla medesima scenografia è apparso alcuni anni fa sul mercato inglese presso Duke’s Auctioneers. Vi è rappresentato un arcangelo aureolato con una spada, elemento che conferma come le due tele facessero originariamente parte di una stessa composizione scenografica, oggi dispersa.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNel tentativo di individuare la produzione teatrale alla quale apparteneva questa scenografia, è emerso un interessante termine di confronto con il progetto della \u003c\/span\u003e\u003cspan\u003eLiturgie\u003c\/span\u003e\u003cspan\u003e, uno degli spettacoli più audaci concepiti nell’ambiente dei Ballets Russes e mai giunto alla realizzazione. Anche se la \u003c\/span\u003e\u003cspan\u003eLiturgie\u003c\/span\u003e\u003cspan\u003e non arrivò mai sulle scene, il progetto conserva un particolare interesse perché documenta una delle ricerche più radicali sviluppate nell’ambiente dei Ballets Russes. Articolato in sette scene dedicate a un soggetto religioso, sperimentava un nuovo linguaggio teatrale, fondato sul ritmo del movimento, sulla stilizzazione dei gesti e su una concezione della danza lontana dal naturalismo.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNel corso della sua carriera Polunin collaborò a produzioni quali \u003c\/span\u003e\u003cspan\u003eLe Coq d’Or\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eSumurun\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Miracle\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Merchant of Venice\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Tempest\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eThe Blue Bird\u003c\/span\u003e\u003cspan\u003e e \u003c\/span\u003e\u003cspan\u003eThe Way of the World\u003c\/span\u003e\u003cspan\u003e. Anche se la scenografia originaria alla quale apparteneva questo frammento non è stata ancora identificata, la tela costituisce una rara testimonianza dell’attività di Vladimir Polunin come pittore scenografo. Ulteriori ricerche potranno forse consentire di individuare con precisione la produzione teatrale dalla quale proviene questa scenografia.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53595444052296,"sku":null,"price":5800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/B276FF11-DD28-46A9-9F8C-A1056E051FEC.jpg?v=1785073554"},{"product_id":"jean-baptiste-mallet-1759-1835-attribuito-interno-seicentesco-con-madre-bambini-e-musico-con-liuto","title":"Jean-Baptiste Mallet (1759–1835), attribuito – Interno seicentesco con madre, bambini e musico con liuto","description":"\u003cp\u003e\u003cspan\u003eJean-Baptiste Mallet, attribuito – Interno seicentesco con madre, bambini e musico con liuto\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eJean-Baptiste Mallet\u003c\/span\u003e\u003cspan\u003e (Grasse, 1759 – Parigi, 1835), attribuito.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eOlio su tavola.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMisure tavola: \u003c\/span\u003e\u003cspan\u003e36 × 24 cm\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e \u003c\/span\u003e\u003cspan\u003eMisure con cornice: \u003c\/span\u003e\u003cspan\u003e47 × 36,5 cm\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLa composizione raffigura una giovane madre con i suoi due bambini, mentre una servente entra nella stanza recando un vassoio. Sullo sfondo compare un giovane musico con il liuto. Sebbene eseguita nei primi decenni del XIX secolo, l’opera è volutamente ambientata nel Seicento, come rivelano gli abiti delle figure, il monumentale camino di gusto tardo-manierista e gli elementi d’arredo. Questa raffinata rievocazione storica, tipica del gusto \u003c\/span\u003e\u003cspan\u003etroubadour\u003c\/span\u003e\u003cspan\u003e, costituisce uno degli aspetti più caratteristici della produzione di Jean-Baptiste Mallet. Anche la scelta dell’olio su tavola, supporto ormai meno frequente all’epoca, richiama consapevolmente la tradizione pittorica dei secoli precedenti.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNato a Grasse nel 1759, Jean-Baptiste Mallet fu uno dei principali interpreti della pittura di genere francese tra la fine del XVIII e l’inizio del XIX secolo. Le sue opere, spesso ambientate in un passato idealizzato, uniscono la narrazione della vita quotidiana a una colta ricostruzione storica. Significativi confronti possono essere stabiliti con opere conservate al Bowes Museum e con i dipinti presentati nella mostra dedicata all’artista presso il Museo Fragonard di Grasse.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eL’attribuzione si fonda sulle strette affinità stilistiche e iconografiche con la produzione nota dell’artista.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBuono stato di conservazione. Presentato nella sua cornice in legno dorato.\u003c\/span\u003e\u003c\/p\u003e","brand":"@alina.malova","offers":[{"title":"Default Title","offer_id":53659913290056,"sku":null,"price":4500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/files\/45C3F428-DC2D-46BD-B7C2-B9779EC01ECD.jpg?v=1786031552"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0572\/8200\/3151\/collections\/IMG_4990.jpg?v=1756488477","url":"https:\/\/shop.tuttoantico.it\/en\/collections\/old-masters.oembed?page=2","provider":"@alina.malova","version":"1.0","type":"link"}