Oil on Canvas Still Life Italy XVII-XVIII Century

Oil on canvas. Roman school of the 17th century. The bloody episode of the sacrifice of Iphigenia, also told in the Iliad, originates from the wrath of Artemis, goddess of the hunt, who, offended by Agamemnon for his boasting as a hunter, prevents the Greek fleet from sailing towards Troy; the soothsayer Calchas then prophesies that the wrath of the goddess can only be appeased by sacrificing the youngest daughter of King Agamemnon himself, Iphigenia, and so it happens. In the centre of the scene the girl is depicted prostrate at the foot of the sacrificial altar, while she is being prepared by the priests according to the rituals; in the left corner we can glimpse her father Agamemnon (with the crown abandoned at his feet) with her mother Clytemnestra who, in despair, do not dare to look. Above, the goddess Artemis watches the scene, recognizable by the moon on her hair, the bow she holds in her hand and a deer, her symbolic animal, at the foot of the canopy: according to a less violent version of the myth, at the moment of the sacrifice Iphigenia is replaced by Artemis with a doe, as the presence of the animal in this representation might indicate. The work presented here derives from the painting by Pietro Testa, published between 1640 and 1642 (now at the Galleria Spada in Rome) and from his engravings: the entire composition of the figures is taken from it, although modified in the clothes, colors and various details. Restored and relined, the painting is presented in an early 20th-century frame, contemporary with the restoration.

Oil on canvas. Roman school of the 17th century. In classical mythology, the goddess Venus, wife of Vulcan, had him forge weapons for her son Aeneas. In the scene, set in the cave where the forge is located, Vulcan is in fact forging a suit of armor on the anvil, with the help of his assistants, while Venus, accompanied by the faithful Cupid, arrives to check the work. Thetis, the sea nymph mother of Achilles, also commissioned the weapons for her son to the same god Vulcan, to protect him during the Trojan War. Restored and relined, the painting has a loss of color at the top right. It is presented in an early 1900s frame, contemporary to the restoration.

Oil on canvas. The portrait of a gentleman is accompanied by the inscription at the top left "Paulus Castellanus Sanator". The word Castellanus could be the surname, very common and identifying the inhabitant of a castle, not necessarily the lord but a member of the family. The term Sanator identifies the man as a healer, the family doctor. The painting is presented in an antique frame.

Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family is seated in the center, watching his companion who is holding the swaddled baby in her arms; all around, the animals, from the faithful sheepdog to the animals of the flock, sheep, goats and cows, also resting. The great naturalism of the animal figures stands out, which harks back in pictorial style to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best animal painters active in Italy in the 17th century, characterized by the peculiar ability to evoke the fleece and the looks of the animals. The work, restored and relined, is presented in a gilded frame in style.

Oil painting on canvas. The large scene depicts Mary, already Assumption into heaven and supported on the clouds by little angels, receiving the Crown from the Holy Trinity. This coronation expresses the apotheosis of Mary, who by becoming "Queen of Heaven" becomes the intermediary between the earth, Humanity, and Heaven, the Divinity: what is not given to man to see becomes possible through Mary who in this glorification is more than ever the tenacious thread that binds us to the Almighty, the true "gate of heaven", as it is defined by the Fathers of the Church. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. Venetian school of the late 18th century. The large painting tells the evangelical episode of the meeting between Saint Elizabeth, pregnant with John the Baptist, and Mary, waiting for Jesus, but inserted in a larger choral scene: it is placed on a large staircase, probably that of the temple in where Zechariah, Elizabeth's husband, was a priest, and a crowd of figures, and is animated by a crowd of figures, among which several women with children and families stand out. Detail in the foreground on the left is the figure with a little boy attached to his legs, who looks towards the viewer, indicating with a broad gesture of his arm the central event, the meeting between the two holy women. The colors stand out, which according to the Venetian pictorial tradition, are founding elements of the scenes, which underline the figures and fade into the different three-dimensional planes. Relined and restored, the canvas has a slight crack on the left. It is presented in a gilded frame from the late 19th century.

Oil painting on canvas. The identification of the saint is given by the presence of the large wooden wheel, symbol of the instrument of her martyrdom. Usually the saint is represented with a crown on her head and dressed in royal clothes to underline her princely origins. Instead here we have an atypical depiction of her, with her hair loose, covered only by a large red cloak (the color of blood, therefore of mortal humanity) which falls from her shoulders and forces her to cover her breasts with her hands; her gaze is turned upwards, where the heavens open and an angel descends, holding the palm of martyrdom with one hand and placing a crown of flowers on her head with the other, symbol of her mystical marriage with Christ . It is therefore a representation that sees her at the moment of passage to eternal life, similar to a penitent Magdalene in mystical adoration, who offers herself to Christ without any human recognition. The chromatic choices stand out in the painting, which against a dark and gloomy background bring out the red of the open sky and of the mantle, and the whiteness of the flesh, both of the woman and of the angel. The canvas, already restored and relined, is presented in a worked frame from the late 19th century, with some defects.

Oil painting on canvas. Northern Italian school of the 18th century. According to the taste of the 18th century, the proposed landscape is dominated by the remains of an ancient temple, vestiges of past glories. All around there is a countryside with a stream, but fading in the distance towards the blue peaks of a mountain range. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.

Oil painting on canvas. The painting offers a half-length portrait of a young man who, in deshabillé, is lighting his pipe by drawing fire with a stick from the candle placed in front of him, on the table where a sword is also placed: perhaps it is a young knight in a moment of rest. It is precisely the candle, the only source of light in the scene, which suggests that the artist looked to the production of Georges De La Tour (1593 -1652), the French painter of the Caravaggio style who established himself for his "nocturnal" scenes, characterized by figures, usually low-ranking people rather than historical models or high-ranking figures, illuminated by the light of a candle, to create a special atmosphere of intimacy. The painting, restored and relined, is presented in a period frame.

Still Life with Fishes

Oil painting on canvas. The rather dark scene is set in a rustic kitchen interior, with copper cauldrons placed on a table together with two fish and some vegetables. The style and subject of the painting refers to Felice Boselli, the Emilian painter known above all for still lifes, of which he created around a hundred works characterized above all by game, fish and farmyard animals. Restored and relined, the painting is presented in a repurposed antique frame.

Still Life with Wild Game

Oil painting on canvas. The scene, rather dark and set outdoors, as can be deduced from the silhouettes of trees in the background, sees some birds from the hunt, resting on the ground or hanging by their legs from branches. The style and subject of the painting refers to Felice Boselli, the Emilian painter known above all for his still lifes, of which he created around a hundred works characterized above all by game, fish and farmyard animals. Restored and relined, the painting is presented in a repurposed antique frame.