Painting Daniel in the Lion's Dem Oil on Canvas XVII Century

Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.

Oil painting on canvas. Central Italian school of the 17th century. According to the iconographic tradition, also in this painting the guardian angel is depicted as a winged young man who accompanies a child along a stretch of road, indicating the sky as the destination of the journey. The winged figure stands out and dominates the scene, lively in its colours, powerful in the physical strength it emanates, albeit sweet in its delicately protective attitude towards the child, whose small figure is enveloped in the limbs of its guardian. The scene is enclosed within a garland of bright and colorful flowers, which give color to the figures, otherwise placed in a dark and almost monochrome landscape. The depiction of characters, mainly religious, enclosed in floral frames had great development especially in Rome, linked to names such as Giovanni Stanchi (1608 -1675), rather than Mario Nuzzi known as Mario de' Fiori (1603 -1673), and others. The painting, restored and relined, is presented in a strip 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. Central Italian school of the 17th century. In its pictorial style, the painting recalls the production of Angelo Caroselli (1585-1652), a Roman Baroque artist who was a painter, copyist, restorer, but also a pasticheur and connoisseur of art, i.e. creator of paintings "in the manner of"- in “technique” and in the “style” of a specific artistic period or of a specific author, even assembling “parts” taken from different paintings. Initially Caravaggesque, Il Caroselli later developed his own personal artistic language, which was copied by many minor artists. In this work the fixed and almost exasperated expressiveness of the character stands out, whose elegance of the seventeenth-century dress and the almost feminine features of the face with its rosy complexion contrast with the crudeness of Goliath's head, bloody, with the large stab wound that stands out against the mortal pallor. The painting has been restored and relined, retaining the original wooden frame. It is presented in a contemporary wooden frame.

Oil painting on canvas. Italian school of the 17th-18th centuries. A large composition of colorful flowers, in embossed metal vases, and some fruits scattered on the ground, are placed close to a wall overlooking a maritime landscape: the brightness of the sky and sea on the right contrasts with the shaded area on the left, on which the colors of the flowers stand out. The painting, relined and restored, has a significant crack. It is presented in a contemporary lacquered and gilded frame.

Oil painting on canvas. Northern Italian school of the 17th century. The large painting presents as its subject a well-known Old Testament theme, the wealth of King Solomon, told in the First Book of Kings: "King Solomon surpassed, therefore, in wealth and wisdom, all the kings of the earth. In every part of the earth to approach Solomon to listen to the wisdom that God had placed in his heart. Everyone brought him, every year, offerings of silver and gold objects, clothes, weapons, spices, horses and mules". In the painting the king, richly dressed with the symbols of royalty (the crown, the scepter, the ermine cloak), listens standing to the postulants who come to him to receive the advice dictated by his proverbial wisdom, and in exchange they bring him offerings, which are commensurate with their social role: some farmers bring gifts of bags of grain, the fruits of their work in the fields, another raises a cup high, to attract the king's attention. The colors and pictorial style of the painting refer to the production of northern Italy, especially Venetian. The painting has been restored and relined.

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.

Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.

Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.

Copy from Guido Reni

Oil painting on canvas. The work is one of the numerous replicas, with some variations, of the famous subject created by the famous Bolognese painter Guido Reni (1574 -1642) and his workshop. The composition, which sees the Virgin in prayer bent to adore the sleeping Child, is considered an invention of the brilliant vein of Reni, which, following the great success among collectors of the time, was then taken up by other authors of the seventeenth century, among which the name of Giovan Battista Salvi known as "Il Sassoferrato" stands out. The two most famous variants of this fascinating scene see the Virgin with her hands joined in prayer, adopted by Salvi, or the one with her hands on her chest, like this one, typically by Reni. Other variations concern the position of the head of the sleeping Christ Child, turned upwards as in this version, rather than reclining to one side; finally the background fabrics change. However, even in this replica the intensity of the scene stands out: it is transversely occupied by the body abandoned in repose of the child, where the divine nature is subject to the human one in sleep; above it, inclined in a protective and at the same time contemplative gesture, the body of Mary, which expresses all the maternal tenderness but also, in the gesture of the hands, the adoration of the incarnate mystery represented by the little son. The lively colors of the fabrics - the pillow on which Jesus is laid, the curtain behind it, the Mother's clothes - bring out the brightness of the flesh tones. Restored and relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

Reduced version from an altarpiece by Girolamo Mazzola Bedoli

Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Child Jesus in the centre, surrounded by the young San Giovanni in the lower left, and three angels forming a crown around. All the characters are happy and smiling, despite the reference to passion given by the stick surmounted by the Cross which John offers to Jesus. The movement of the bodies and the bright colors make the scene come alive. The painting is still on the first canvas, with no signs of previous restoration. There are several drops of color, spread above all along the lower margin and the two sides. It is presented in an antique lacquered wooden frame.