Religious Subject Oil on Slate XVI-XVII 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.

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.

Oil on Canvas Still Life Italy XVII-XVIII Century

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to a bowl full of porcini mushrooms and a bunch of grapes: with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

Still Life with Flowers Oil on Canvas Italy XVII Century

Oil on canvas. In the beautiful composition you can see, resting on an inlaid wooden sideboard, a basket full of cherries, some of which are scattered on the top, and a plate full of red currants, mixed with leaves and a few cherry blossoms. A goldfinch rests on the handle of the basket; to frame the composition, on the right a large bouquet of multicolored flowers in a vase, on the left a red curtain. The bright colors of the fruits, the flowers and the curtain stand out, while the support cabinet blends into the dark background, as does the little bird, distinguishable from the dark background only by the white plumage on the wings and the red outline of the eyes. The work is part of the large 17th century Emilian production of this highly decorative type of subject. The painting, restored and relined, has a marked crack and drops of color along the edges.

Oil on Canvas Still Life Italy XVII-XVIII Century

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to two large pumpkins and mixed fruit (grapes and peaches): with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

Mythological Subject Oil on Canvas Italy XVII Century

The Tale of Apollo and Marsyas

Oil painting on canvas. Northern Italian school of the seventeenth century. The large canvas derives from an engraving of 1562 by the Venetian Giulio Sanuto, who faithfully reproduced the homonymous work by Bronzino (1503-1572), currently preserved in the Hermitage; compared to the original, the engraving added the group of Muses and modified the landscape background by introducing views of the villages. The work is divided into four scenes, which must be read from right to left. The first scene depicts the musical contest between Apollo and the Silenus Marsyas, who played the flute so well that he was considered superior to the same god; the two contenders are performing, the god with the lyre and the silenus with the flute even upside down (to increase the difficulty of the undertaking), in front of King Midas and the goddess Minerva, recognizable by her attributes, the helmet, the spear and the shield. In the second scene Apollo is intent on skinning Marsyas, to punish him for having won the musical contest; lean on the ground next to him, his cloak and lyre. In the third scene, it is King Midas who is punished by the god for having preferred Marsyas to him: Apollo is putting the donkey's ears on Midas, while Minerva is watching. Finally, the fourth scene, in the foreground on the left, is characterized by a particular figure, identified in the faithful servant and barber of the king: since Midas had ordered him to keep the secret on his donkey ears, not being able to let off steam otherwise, he dug a hole in the ground and yelled into there his secret; in that place, however, legend has it that a bush of reeds grew that with the wind whispered "King midas has donkey ears", thus revealing the dreaded secret. The painting has been previously restored and relined, but currently needs any further color recovery. On the back in pencil there is an old attribution to the Ferrara school ("Ercole da Ferrara"). It is presented in a late 19th century style frame.

Antique Painting Male Portrait Oil on Canvas XVII Century

Oil on canvas. It is the portrait of a man in armor, accompanied by the writing at the top right "Paulus Maria Castellanus LT Gare". 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 painting is presented in an ancient frame.

Oil on Canvas Religious Subject Italy XVII-XVIII Century

Oil on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.

Antique Painting Religious Subject Oil on Canvas XVII 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.

Antique Painting Mythological Subject Oil on Canvas XVII Century

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.

Antique Painting Male Portrait Oil on Canvas XVII Century

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.

Antique Painting Religious Subject Oil on Canvas XVIII Century

Oil on canvas. The painting looks at the similar work by Paolo Veronese (1528-1588), datable around 1560-70 and now preserved in the Prado Museum, of which our painting takes the composition of the figures, changing the entire background and the clothing of the characters. Veronese's work was so successful that it was replicated by his own workshop, with numerous variations: our work probably derives from one of these copies, replicated at a later time. The episode depicted is narrated in the biblical book of Exodus and tells of the finding of the little Moses, left by his mother in a basket along the banks of the Nile River, to save him from the massacre of the children of Israel perpetrated by the Pharaoh; the Pharaoh's daughter, who went to the river with her entourage, finds him and saves him, adopting him. The figures in the scene are depicted in eighteenth-century clothing, in particular the princess' dress stands out for its richness and sumptuousness; the only exotic element is the presence of a colored servant in the retinue, while the background also refers to a landscape of northern Europe, with thick woodland vegetation. The painting, restored and relined, is presented in an 11th century frame.