Antique Painting Jesus Christ and the Adulteress Flemish XVI Century - Flemish School, XVI Century

Antique Painting Historical Scene '600-'700 Oil on Canvas

Oil painting on canvas. Southern Italian school of the 17th-18th centuries. The scene, full of characters, sees the figure of a leader standing at the centre, well defined in the details of the armour, the crest, as well as the anatomy: he is benevolently accompanying with the movement of his arms a kneeling man who, together to his companion, he is paying homage to an emperor, however indicating with his outstretched hand the group of six children, held back on the right by soldiers. The emperor has risen from the throne, on the left, and goes to meet the prostrate couple, but he too seems almost in an attitude of reverence towards the central leader. The scene seems to refer to a historical episode of clemency of a leader, who due to his age, features and type of armour, could be Alexander the Great, a character who, however, is difficult to match with the other figure crowned with laurel, who descends from the throne in the sumptuous palace . It is therefore not possible to specifically identify the episode (historical or legendary?) of reference. Furthermore, the compositional richness of the scene is appreciated, with numerous well-detailed figures and bright colors to underline its dynamism. The work, restored and relined, is presented in an antique frame.

Ancient Painting Hercules Sanders '600 Scene with Figures Canvas

Figures with Autumnal Still Life

Oil painting on canvas. The H.Sanders signature is present on the barrel at the bottom left. The scene, set outdoors in a street of a Flemish city, with the canal in the background on the left, sees in the foreground a vegetable seller behind her stall, which is set up with a varied composition of winter vegetables, a composed still life from cauliflowers, cabbage, carrots, corn on the cob; next to the woman, a passer-by carrying a harpoon on his shoulder is offering her some fish, evidently the fruit of his catch that he wants to sell. The setting brings to mind Amsterdam, the city where the Dutch painter Hercules (or Herkules) Sanders was born and lived, who established himself mainly as a portraitist, but of whom an interior genre scene is known, currently at the Detroit Institute of Arts, dated 1647 and entitled "Woman cleaning fish", whose female figure closely resembles the seller of the work presented here. Restored and relined, the painting is presented in a period frame.

Antique Painting '600 The Rape of the Sabine Oil on Canvas Framed

Oil painting on canvas. Roman school of the 17th century. The large scene represents the famous episode halfway between real history and legend, told for the first time by Tito Livio in his "Ab urbe condita libri" (the books of the "History of Rome from its foundation"). To populate the newly founded city, Romulus, founder and first king of the city, resorted to a stratagem: he invited the Sabines, who lived in the nearby city of Curi, to the Consualia festival, in honor of the god Neptune, and kidnapped their women. The painting depicts the moment in which the Romans kidnapped the Sabine women, forcibly taking them away from their companions, under the eyes of the king, who remained hidden behind the columns of the temple of the deity, the god Neptune, recognizable by the trident. In the center at the rear is the obelisk, which for the Romans acquired a symbolic meaning as war booty and testimony to imperial strength. The many figures intertwine with each other, chasing each other, overlapping, creating plays of bodies and chromatic effects. Restored and relined, the painting is presented in an antique frame.

Antique Painting The Preaching of St. John the Baptist Oil on Canvas

Oil painting on canvas. Northern Italian school of the 17th-18th century. The large scene is full of figures in ancient oriental clothing, placed in a Nordic landscape, rich in vegetation and with mountain peaks in the distance. The left half is mainly occupied by Saint John the Baptist, standing and depicted according to traditional iconography: he is dressed in a poor tunic made of animal skins, but has a red cloak draped around him, symbol of martyrdom; with one hand he holds the cross-shaped stick, around which is rolled the scroll with the writing "Ecce Agnus Dei", symbol of his role as precursor and herald of Christ, and at his feet the lamb itself, sacrificial victim and therefore a symbol of Christ's sacrifice. With his other hand John points to someone on his right outside the frame of the scene, but who is obviously Christ: this gesture catalyzes the gazes of the entire crowd located on the right of the scene, a varied crowd representing genders, social classes and races different, indicating the universality of the Baptist's message. The work, previously restored and relined, has a widespread patina that needs to be cleaned. It is presented in an antique frame.

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.

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.

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.