18th Century Painting of Cherub/Putti

This is a very good copy of an early Rembrandt self-portrait, the painting was executed by a very competent early 19th century romantic artist. ...

This is a very good period Regency portrait of a young Regency-era dandy. The features of the subject match those of published Beau (George) Brumme...

This is a classic Italian late 17th century floral still life. Although the painting is not signed, it has all of the hallmarks of being created by a master painter. The painting and...

This is a wonderful example of a late 19th century English lead putti. These English lead figures were traditionally garden elements; but this example is in...

A refined oil painting on canvas, set in a carved and gilded wooden frame. The painting features an inner frame decorated with scrollwork friezes and floral motifs, at the center of ...

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...

19th century Roman painter Still life with cherubs, flower festoons and herma with faun Measures: Oil on canvas, cm H 78 x W 95 without frame Cm H 122.00 x W 106 x D 8 with frame. The work, painted in oil on canvas, octagonal in shape, represents a nature with three putti or cupids playing with flower festoons in a wooded environment in which is placed a herma with faun and, on the left, a large neoclassical marble vase...

Venetian School painting of four angels, allegorically depicting the variable winds of change and time. Unsigned, believed to be by a follower of Pietro Li...