Landscape Oil on Canvas Italy XIX Century

Antique Painting Signed L. Von Babo Oil on Canvas 1887

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

Antique Painting Lorenzo Delleani Oil on Hardboard 1889

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

Ancient Painting '800 Lorenzo Gignous Landscapes on Wooden Board

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval 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 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 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.

Antique Painting Mythological Subject Oil on Canvas XVIII Century

Oil on canvas. The central protagonist of the scene is the god Bacchus, with his head encircled by a vine wreath, partially covered by a red cloth, with one hand he holds a flowering spear, with the other he holds a bunch of grapes high above the gaping jaws of a wild dog, which lies stretched out on the ground in front of him, with a cupid who, sitting on his belly, holds his muzzle open. In the background a landscape tinged with the reddish lights of a sunset. The painting was restored and relined at the end of the 19th century, and is presented in a frame from the same period.

Antique Painting Religious Subject Oil on Canvas XVII Century

Oil on canvas. Northern Italian School of the 17th-18th century. The scene features the figure of the Risen Christ at the centre, seated on the clouds, holding the Cross with one hand and with the other pointing downwards, where His gaze is also directed, towards the recipients of the Redemption; He is surrounded by angels and is illuminated by a beam of intense light that projects diagonally from the top left, piercing the clouds, a symbol of the presence of God the Father. Restored and relined, the painting is presented in a late 19th century gilded frame.

Antique Painting Landscapes Oil on Canvas Italy XVIII Century

Oil on canvas. Genoese school of the 18th century. The countryside landscape sees a crumbling structure rising in the center, the ruins of a building through whose torn walls you can see the masses of white clouds in the background flowing; in front of it flows a stream, in which a woman is washing clothes, while her companion sits on a nearby rock, in line with the female figure and almost symmetrical with the female figure. The scene is characterized by a particular search for light, by a dynamism of forms (you can notice the directional continuity of the treetops with the roof of the ruin and the clouds) and by the theatricality of the figures, all elements that have defined the pictorial production of the Genoese Baroque. Restored and relined, the painting is presented in a period frame.

Antique Painting Historical Subject Oil on Canvas XVIII Century

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

Antique Painting Religious Subject Oil on Canvas Italy XVII Century

Oil on canvas. 17th century Tuscan school. According to Christian tradition, Saint Veronica was the 'pious woman' who, seeing the passion of Jesus carrying the cross and his face smeared with sweat and blood, wiped it with a linen cloth, on which the imprint of Jesus' face would remain. This veil, also known as the Holy Shroud, thus became the iconographic sign of the saint. Veronica also appears in the centre of the painting, while two angels on the sides hold the linen on which Christ's face is imprinted, crowned with thorns; below it, a chalice symbolically collects the divine blood, while above the saint's theta the Holy Spirit hovers. Restored and re-framed, the painting is presented in a stylish frame.