Panel depicting pastoral scene attributed to Gerolamo da Ponte ( Bassano)

Giovanni Battista del Verrocchio, known as The Master of Volterra (Florence 1494 - 1569) Madonna with Child and San Giovannino Oil on panel, 63 x 50 cm Frame: 92 x 80 cm The styl...

Giovan Battista dell'Acqua (Milan, 1790-1845) Navy with fortress, 1833 Oil on canvas, 12 x 12 cm Picture frame, 21 x 21 cm Signed and dated on the back Bibliography: Thieme-Beck...

Angelo Monticelli (Milan, 1778-1837), attr. Dancing putti Oil on canvas, 122.5 x 131 cm The canvas presented here, referable to the 19th century, constituted an exquisite example of a painting made to decorate a boiserie, as evidenced by the particularity of the format and the ornamental subject matter. The theme of dancing putti takes up a widely used and experimented model around the 1620s, on which the greatest artists tried their hand: pordenone, author of the Dance of Putti now in the Uffizi Gallery in Florence, for example, was able to make use of multiple visual models to fine-tune this complex and original composition, such as having known Marcantonio Raimondi's famous engraving with a gyre of cupids, derived from an invention of Raphael himself and dated between 1517 and 1520. Over the following centuries, the fame of this prissy subject was never diminished. In fact, the work under consideration can be attributed to the hand of 18th-century artist Angelo Monticelli, who specialized in tempera drawing and was a pupil of painter Andrea Appiani (1754-1817), active mainly in Lombardy, where, for the Teatro alla Scala he designed the figures of the box parapets (1807) and the curtain (1821). In 1826, during the repainting of Ferrara's Municipal Theater, Monticelli decorated the plafond with an Apotheosis of Lodovico Ariosto. The curtain of the Rossini Theater in Pesaro is also by his hand. For the Duke of Lodi Francesco Melzi...

Hans von Aachen (Cologne, 1552 - Prague, March 4, 1615) Nativity Oil on canvas, 37 x 29 cm Framed, 63 x 50 cm Born to a noble and prestigious family originally from the city of ...

3981 Children's fantasy figurative oil painting set in a hand painted oak frame Image size 15.5x19.25"

Oil on linen mounted on board signed and dated on reverse.

Breezy day at Perranporth, Conrwall by Georgie Dowling [2022] original oil paint on board Image size: H:30 cm x W:40 cm Complete Size of Unframed Work: H:30 cm x W:40 cm x D:3cm ...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintings. Simka Simkhovitch (Симха Файбусович Симхович) (aka Simka Faibusovich Simkhovich) (Novozybkov, Russia May 21, 1885 O.S./June 2, 1885 N.S.—Greenwich, Connecticut February 25, 1949) was a Ukrainian-Russian Jewish artist and immigrant to the United States. He painted theater scenery in his early career and then had several showings in galleries in New York City. Winning Works Progress Administration (WPA) commissions in the 1930s, he completed murals for the post offices in Jackson, Mississippi and Beaufort, North Carolina. His works are in the permanent collections of the Dallas Museum of Art, the National Museum of American Art and the Whitney Museum of American Art. Born outside Kyiv (Petrograd Ukraine) into a Jewish family who owned a small department store. During a severe case of measles when he was seven, Simcha Simchovitch sketched the views outside his window and decided to become an artist, over his father's objections. Beginning in 1905, he studied at the Grekov Odessa Art School and upon completion of his studies in 1911 received a recommendation to be admitted to the Imperial Academy of Arts. Though he enrolled to begin classes in architecture, painting, and sculpture at the Imperial Academy, he was dropped from the school roster in December because of the quota on the number of Jewish students and drafted into the army. Simchovitch served as a private in the 175th Infantry Regiment Baturyn [ru] until his demobilization in 1912. Re-enrolling in the Imperial Academy, he audited classes. Simka Simkhovitch exhibited paintings and sculptures in 1918 as part of an exhibition of Jewish artists and in 1919 placed 1st in the competition "The Great Russian Revolution" with a painting called "Russian Revolution" which was hung in the State Museum of Revolution. In 1922, Simkha Simkhovitch exhibited at the International Book Fair in Florence (Italian: Fiera Internazionale del Libro di Firenze). In 1924, Simkhovitch came to the United States to make illustrations for Soviet textbooks and decided to immigrate instead. Initially he supported himself by doing commercial art and a few portrait commissions. In 1927, he was hired to paint a screen for a scene in the play "The Command to Love" by Fritz Gottwald and Rudolph Lothar which was playing at the Longacre Theatre on Broadway. Art dealers began clamoring for the screen and Simkhovitch began a career as a screen painter for the theater. Catching the attention of the screenwriter, Ernest Pascal, he worked as an illustrator for Pascal, who then introduced him to gallery owner, Marie Sterner. Simkhovitch's works appeared at the Marie Sterner Gallery beginning with a 1927 exhibit and were repeated the following year. Simkhovitch had an exhibit in 1929 at Sterner's on circus paintings. In 1931, he held a showing of works at the Helen Hackett Gallery, in New York City and later that same year he was one of the featured artists of a special exhibit in San Francisco at the California Palace of the Legion of Honor in Lincoln Park. The exhibit was coordinated by Marie Sterner and included four watercolors, including one titled "Nudes". He is of the generation of Russian Soviet artists such as Isaac Pailes, Serge Charchoune, Marc Chagall, Chana Orloff, Isaac Ilyich Levitan, and Ossip Zadkine. In 1936, Simkhovitch was selected to complete the mural for the WPA Post office project in Jackson, Mississippi. The mural was hung in the post office and courthouse in 1938 depicted a plantation theme. Painted on the wall behind the judge’s bench, “Pursuits of Life in Mississippi”, a depiction of black workers engaged in manual labor amid scenes of white professionals and socialites, was eventually covered over in later years during renovations due to its stereotypical African American imagery. Simka painted what he thought was typical of Jackson. His impression of pre-civil rights Mississippi was evidently Greek Revival column houses, weeping willow trees, working class families, and the oppression of African Americans. He painted African American men picking cotton, while a white man took account of the harvest and a white judge advised a white family, calling it Pursuits of Life in Mississippi. Though clearly endorsed by the government and initially generally well-received, the mural soon raised concerns with locals as the climate toward racial segregation began to change. The main concern was whether depictions that show African Americans in subjugated societal roles should be featured in a courtroom. The following year, his painting "Holiday" won praise at an exhibition in Lincoln, Nebraska. In 1940, Simkhovitch's second WPA post office project was completed when four murals, "The Cape Lookout Lighthouse and the Orville W. Mail Boat", "The Wreck of the Crissie Wright", "Sand Ponies" and "Canada Geese" were installed in Beaufort, North Carolina. The works were commissioned in 1938 and did not generate the controversy that the Jackson mural had. The main mural is "The Wreck of the Crissie Wright" and depicts a shipwreck which had occurred in Beaufort in 1866. "The Cape Lookout Lighthouse and the Orville W. Mail Boat" depicted the lighthouse built in 1859 and the mail boat that was running mail during the time which Simkhovitch was there. The boat ran mail for the area until 1957. "Sand Ponies" shows the wild horses common to the North Carolina barrier islands and "Canada Geese" showed the importance of hunting and fishing in the area. All four murals were restored in the 1990s by Elisabeth Speight, daughter of two other WPA muralists, Francis Speight...