PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY - Page 5

Oil on canvas. The wide view frames a snowy mountain landscape, with a wide valley under sharp peaks, in which a small lake opens up; small figures of wayfarers walk along the path that starts from the village on the left. The whiteness of the snow creates a muffled and luminous atmosphere, in contrast with the dark cloudy sky. The painting is presented in a golden frame from the early 1900s.

Oil on canvas. The large scene is set outside a rocky fortress and features a garrison of soldiers preparing for battle: in the foreground on the left, near a tree, the group of commanders on horseback observe the work and give orders, while the troops arm the cannons on the ramparts, prepare rudimentary lances and sharpen their sidearms. The colors are clear and dull, with shades of gray that pass from the clear sky with clouds to the rocky fortress, to get lost in the ground, turning to a sandy beige; only a few of the officers' uniforms stand out, breaking the chromatic uniformity. Restored and relined, the painting is presented in a golden frame from the early 1900s.

Oil on canvas. The noblewoman, an elegant and proud lady with silver hair, is portrayed in a pink evening dress, trimmed with lace and frills, and completed by a blue velvet cloak, lined with a silver arabesque fabric. The lady does not flaunt any jewelry, but only has a bunch of delicate little flowers on her hair. Restored and relined, it has a small loss of color in the background at the top. It is presented in a period frame.

View of Corfu with a Small Church and a Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Glimpse of Corfu with Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

View of Corfù

Watercolour on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. This same view of the island was presented, in a smaller example, at a Sotheby's auction in London in 2002. The work is presented in a frame.

Oil on canvas. French school of the late 18th - early 19th century. Portrait of a gentleman in elegant bourgeois dress. The canvas has slight tears and requires cleaning. It is presented in a gilded 19th century frame.

Oil on canvas. The scene shows the results of a battle, with survivors providing first aid to the wounded, carrying the bodies of their fallen comrades, and a friar blessing the dying. Officers on horseback count the victims and honor them. The scene is set in an open territory on the banks of a river, with rugged mountain slopes in the background. The rosy atmosphere of a sunset underlines the end of the day, of the battle, of the life lost in battle. The work is presented in a contemporary frame.

Oil on canvas. Second half of the 18th century. A portion of a large ruined architectural structure fills the entire scene: a porch surmounted by a balustrade, overgrown with plants, surrounds a courtyard where various popular figures move, busy with their activities. A bright blue sky surmounts the structure and the light filters through one of the arches to create a play of light and shadows under the portico. On the back of the frame there is an attribution to Gaetano Vetturali (1701-1783), even if the quality of the figures here appears superior to those of the artist from Lucca, who established himself in his territory for his architectural caprices of great scenographic impact. The painting is presented in a gilded frame in style.

Oil on canvas. The painting, made in the first half of the 1900s, takes up the landscape works in the subject and in the pictorial mode: in a landscape rich in vegetation and with peaks in the background, a young commoner asks for charity from some travelers who rest on the roadside , near a stone arch. The canvas has undergone aging and is presented in a late 19th century frame.

Study for Vegetation

Pencil on paper. Signed lower right. Michetti, originally from Abruzzo, studied painting at the Academy of Fine Arts in Naples, where he developed his realistic and naturalistic style. But rural Abruzzo, with its still uncontaminated nature, was always his main source of inspiration. Here is a small study of country vegetation. Framed.

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.

Oil on canvas. Northern Italian school of the late 18th-early 19th century. In the wide landscape, which allows the gaze to wander over a vast plain with soft hills that loom on the horizon, an architectural ruin in stone is inserted on the right, while on the left a bridge, equally old and ruined, crosses the river. Numerous figures of wayfarers, on foot or on horseback, fill the scene. The painting, still on its first canvas, is presented in a golden frame from the early 20th 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.

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.

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.

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.

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.

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.

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.

Auronzo di Cadore

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