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Antique Painting Interior Scene Oil on Canvas XIX Century

Oil on canvas. Flemish school of the early 19th century. The scene, set in the shabby and spartan environment of an inn, features two card players using a barrel as a support surface, watched by two others, while they drink their mug of wine and smoke. The innkeeper, with his back to the right, is leaving the room. The scene is lively and amusing, with rather caricatural characters. On the first canvas, the painting is presented in a late 19th century gilded frame.

Modern Painting Signed Walter Pozzi Oil on Canvas XX Century

Tavern

Oil on canvas. Signed lower right. On the back, further signature and title. Sparkling with light and color, Pozzi's painting, often evanescent and acrid, is pervaded by an ironic temperament, by his need to drug images with the merciless mockery of a false and fictitious world and yet, despite this, full of allusions. In this work, the bright colors contrast with the fixity and poor expressiveness of the figures: in a place of conviviality, such as an inn, these characters are distant from each other, blocked in their position, in their expression devoid of feeling. The painting is presented in a frame.

Antique Painting Capriccio Oil on Canvas Europe XVIII Century

Oil on canvas. Northern Italian school of the 18th century. Typical architectural capriccio, or landscapes with inserted architectural structures, often ruins of classical taste but in this case rather the columned pronaos of a baroque structure, imposing to occupy most of the scene and contrasting with the small and poorly defined figures of wayfarers or popular characters. The dièinto, restored and relined, is presented in a mid-1900s style frame.

Antique Painting Landscape Oil on Canvas XVIII Century

Oil on canvas. Central European school of the late 18th century. The large painting offers a rural landscape, with a peasant house on the left, the shepherdess in the foreground on the left who watches her flock of sheep watering in the nearby stream. The atmosphere of muted colors and soft lights, with pink clouds in the sky, recalls a quiet and peaceful twilight. On the first canvas, the painting is presented in a contemporary regilded frame.

Antique Painting Signed Achille Zo Oil on Canvas XIX Century

Female Portrait

Oil on canvas. Signed on the right, halfway up the canvas. It is the portrait of a woman in mourning, a young widow, as can be deduced not only from her black dress, but rather from her headdress and especially from the cameo with a male portrait, which she wears hanging from her neck. Achille Zo was a French artist (from Bayonne, a town in the Pyrenees that was culturally influenced by the Basque Country), who despite having repeatedly stayed in Paris and Bordeaux, where he trained artistically, then made several trips to Spain, both to Madrid (in 1856) and to Andalusia (1860), producing for several years works with historical subjects or Spanish genre scenes. At the end of the 1860s, he turned instead to Orientalism. There are also several portraits in his production. The painting proposed here, on the first canvas, is presented in a beautiful contemporary frame from the second half of the 19th century.

Antique Painting Religious Subject Oil on Canvas XVII Century

David Playing the Harp

Oil on canvas. Northern Italian school of the 17th century. The scene depicts the biblical episode taken from the First Book of Samuel which thus tells: "Now when the evil spirit permitted by God came upon Saul, David took the harp and began to play; Saul felt relieved, he felt better, and the evil spirit departed from him." In the painting the figures are powerful and vigorous, both King Saul and the guards who hold him, depicted in a tangle of figures that occupies the entire left part of the scene; on the right instead is David, who although young and simple shepherd, stands calmly before the furious king, playing his instrument with dignity and firmness. In the background on the right, in a corridor of the palace, the priests and the king's advisors watch the dinner in dismay. On the frame of the painting is a plaque attributing it to Bernardo Strozzi. The painting was restored and relined in the mid-1900s, and is placed in a gilded frame in style.

Modern Painting Religious Subject Italy XIX-XX Century

Painting on canvas. Unlike most contemporary banners, this one is hand painted and not printed on canvas. The scene is divided into three parts, enclosed within a frame painted with floral motifs and separated by the design of small columns. In the center are depicted the Madonna with Jesus on the throne, on the sides two angels with the appearance of girls. The painting is then framed by a trimming.

Antique Painting Male Portrait Oil on Canvas XVII Century

Oil on canvas. The man portrayed is identified as Giovan Battista Stampa di Gravedona, a jurist, as cited by the writing at the top left, which declares his position, and by the heading of the letter he is holding. The Stampa family, originally from Gravedona on Lake Como, belonged to the local notable class and, by virtue of this, they also played a certain public role. In the painting the man is depicted sitting at his desk, among the papers of his work, stern in the face as his position required. Restored (obvious signs of restoration due to old breaks in the canvas, marked crack) and relined, the painting is presented in an adapted antique frame.

Antique Painting Historical Subject Oil on Canvas XVII-XVIII Century

Oil on canvas. The woman depicted in the scene can be traced back to Porzia, the Roman noblewoman and wife of Brutus, who lived in the 1st century BC: according to legend, she committed suicide by swallowing a burning coal, and it is in this fatal moment that she is depicted here. The painting is very close to the pictorial methods of the painting of the same name from the Cignani school, attributed to his pupil Marcantonio Franceschini and preserved at Palazzo Tozzoni in Imola. The figure of Porzia, placed in an interior with classical elements, occupies the entire field of the scene, and is depicted sitting in front of the burning brazier, in the act of putting the coal in her mouth; her expression reveals the suffering of the gesture she is making, but also her determination, her gaze looking into the distance already places her far from the life she is leaving. The painting has been restored and relined. It is presented in an antique 18th century frame.

Antique Painting Michiel Caree Oil on Canvas Landscape XVIII Century

Landscape with Shepherds and Herds

Oil on canvas. Signed lower right. In a splendid classical landscape, with green hills overlooking a watercourse, a stream in the foreground that then becomes a wide river in the distance, are inserted the figures of a shepherd and a shepherdess who lead their flock to water. The pastoral scenes of this type characterized the production of the Dutch artist Michiel Carree, who was court painter to the King of Prussia in the first decades of the 18th century. The painting, in the first canvas, is presented in a contemporary golden frame, in carved and gilded wood.

Antique Painting Historical Subject Oil on Canvas XVII Century

Oil on canvas. Roman school of the second half of the 17th century. The scene tells an episode of the love story between the queen of Egypt and the Roman triumvir Anthony: Cleopatra, to demonstrate her wealth and seduce the handsome general, organizes a sumptuous banquet, during which she chooses a pearl of inestimable value and dissolves it in vinegar, then offering the drink, considered a powerful aphrodisiac, to Anthony. In the painting the queen is preparing to put the pearl in the cup: the ribbon to which the pearl is tied is particular, reminiscent of the one in the painting of the same name by Carlo Maratta (1625 -1713). Restored and relined, the painting is presented in a wooden frame from the late 19th century.

Antique Painting Religious Subject Oil on Canvas XVIII Century

Oil on canvas. The sacred representation, rich in figures, is placed outside a ruined architectural structure that houses the donkey and the ox, in a countryside landscape with mountain slopes in the distance. The Holy Family, at the center of the scene, receives the visit of the three Magi from the East, recognizable by their sumptuous clothes: the first kneeling before the Child, with the crown resting on the ground as a sign of humble homage; the second behind him on the right, is taking the urn with the gift he brings from the hands of the servant; the third, just dismounted from his horse, even further back, waits sitting on the edge of the well. All around, multiple figures of the kings' entourage are depicted, together with groups of shepherds who climb up the ruins to watch the scene. Above, the two angels with the writing Gloria hover, while above the hut the comet shines. The chorality of the scene immediately stands out, where no one stands out or excels, but all the characters have their role that revolves around the figure of Baby Jesus. The canvas was restored (small patch on the back) and remounted on a stretcher in the mid-1900s, as well as placed in a frame from the same period.

Antique Painting Religious Subject Oil on Canvas XVII-XVIII Century

Oil on canvas. The sacred representation follows the traditional representative canons of this subject: the long transversely arranged table is presided over in the center by Christ, who is announcing to the apostles the imminent betrayal by one of them; while all the other apostles are turned toward the Master in the gesture of asking if the accusation concerns them ("Sono forse io?"), Judas, in the foreground on the left, turns his back to Jesus with a gesture of desperation, while he clutches in his hand the bag of thirty pieces of silver, the price of the betrayal. At the bottom center, in front of the table, a small dog looks at the traitor: the animal symbol of fidelity perhaps wants to be the last attempt to stop Judas, before definitively committing the betrayal. Restored and relined, the painting is presented in a period frame. L

Antique Painting Religious Subject Oil on Canvas Flemish Copy '700

Oil on canvas. This is a copy of a painting by Anthony Van Dick (1599 -1641), who created this subject in three versions during his stay in Italy – between 1621 and 1625, which were later widely copied. The composition of the two figures is faithful to the original, with the contrast of Mary's gaze, which turns sorrowfully towards the sky, thinking of the fate of her Son, against the determined and confident gaze of the Child, who turns away from the composition. The imposing column in the background is missing from the original, here monochrome. Restored and relined, the painting is presented in a period frame.

Modern Painting Copy Claus Maeyer Oil on Hardboard XX Century

The Announcement

Oil on panel. The reference name is shown at the top left, with the surname changed to Mayer. This is a copy of the painting of the same name by Claus Meyer, which was auctioned in Germany in 2005. The German artist loved to reproduce genre scenes in Flemish style. In the work presented, set in a room of a bourgeois house, a man from behind is reading a letter to a group of other men, all notables or personalities of the place. The work is presented in a period frame.

Antique Paintings Abstract Subject R. Ciaccio Oil on Polystyrene '900

Oil on polystyrene. On the back of one there is a label from the 1974 Milan exhibition, with the data of the work and the title "Spazio rosso". Roberto Ciaccio has had a deeply conceptual artistic path that has led him to results of pure abstraction. He has experimented with different materials and techniques, but above all his research has been in interdisciplinary terms, often dealing with philosophy, music, poetry, architecture). The two works are presented in a plexiglass case.

Modern Painting U. Vittore Bartolini Oil on Canvas 1954

Auronzo di Cadore

Oil on canvas, 1954. Signed and dated lower right. Further signature and title on the back. In a contemporary gilded frame.

Antique Painting Religious Subject Oil on Canvas XVII-XVIII Century

Oil on canvas. Christ, seated in prison, wearing a red cloak and a cane in his hands, also receives the crown of thorns, to complete the symbols of mockery of his declared royalty, the reason for his death sentence. The scene presents lively and well-defined figures; the central Christ, suffering and resigned in the expression of his face, is illuminated by the light that enters from the opening in the rock face, while the two soldiers surround him. The painting on the first canvas is inscribed in three twisted wooden elements, carved with leafy and gilded motifs.

The Continence of Scipio Oil on Table Italy XVII Century

Oil on the table. Northern European school of the 17th century. The scene depicts an episode in the life of Scipio narrated by Tito Livio and Valerio Massimo. Publius Cornelius Scipio, later known as Scipio the African, in 209 BC. during the Spanish campaign, after the capture of Cartagena he received as a personal gift a beautiful virgin, who was in the group of hostages. But he, listening to the pleas of his family, respected her by sending her back to her parents and fiancé, with the only recommendation that her betrothed work for peace between Rome and Carthage. In the representation Scipio is in the center, seated on his throne, and turns to the left, to the suppliant parents of the girl, while with a merciful gesture, he indicates to them to take back his daughter, standing on the right, flanked by her boyfriend. All around, soldiers and followers of the king. The scene is full of figures, bright and colorful, and underlines the positivity of the king, a central and powerful character, but capable of meekness and clemency. The restored painting has been reinforced on the back with wooden strips. It is presented in a stylish frame.

Antique Painting Landscape Oil on Canvas Italy Late XIX Century

Oil on canvas. Northern European school, late 19th century. Unidentified signature (Marie Ross?) lower right. Wide view of a green countryside, crossed by a stream; in the background a farmhouse, towards which the female figure is heading on the path. Played on pastel shades of green and blue, the painting is bright and serene. It is presented in a contemporary frame, with small damages to be restored.