Flap Walnut Silver Fir Trentino Italy XVIII Century.

Antique Painting Folly Oil on Canvas Italy Late XVIII Century

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.

Antique Painting Religious Subject Oil on Canvas XVII-XVIII Century

Oil on canvas. Mary is depicted here in an attitude of suffering inner concentration, her gaze turned downwards, her head resting on her hand, her expression sad; even though she is haloed, the human dimension prevails in this painting, the suffering mother. Behind her is a deserted and barren landscape, accentuating her solitude and suffering. Restored and relined, the painting is presented in a period frame.

Antique Inkwell Majolica Geometric Decorations France XVIII Century

France, Late XVIII Century

French majolica inkwell with a trilobate shape. It features a decorative motif with plant motifs and a geometric lattice band.

Painting Diana and the Nymphs Surprised by Actaeon

Oil on canvas. A large and wide green landscape, near a cave from which a spring flows to create a clear body of water, is the setting for the myth of Actaeon: the young hunter, during a hunting trip, accidentally came across the cave where the goddess Diana and her companions were bathing. As soon as she noticed his presence, the goddess, surprised by Actaeon in this moment of great intimacy, became so angry that she threw water in his face, transforming him into a deer. His dogs, not recognizing him, pounced on him and tore him to pieces: from a hunter Actaeon had become prey. The story of Diana and Actaeon has inspired the imagination of numerous artists, who have tried their hand at this subject, always obtaining original and different interpretations. The painting, relined, is presented in a re-adapted antique 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 Ruins Oil on Canvas XVIII-XIX Century

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.

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 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 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.

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.