Antique Painting Landscape Oil on Canvas XVIII Century

Antique Painting Religious Subject Oil on Canvas XVII Century

David Playing the Harp

Oil on canvas. Northern Italian school of the 17th century. The scene depicts the biblical episode taken from the First Book of Samuel which thus tells: "Now when the evil spirit permitted by God came upon Saul, David took the harp and began to play; Saul felt relieved, he felt better, and the evil spirit departed from him." In the painting the figures are powerful and vigorous, both King Saul and the guards who hold him, depicted in a tangle of figures that occupies the entire left part of the scene; on the right instead is David, who although young and simple shepherd, stands calmly before the furious king, playing his instrument with dignity and firmness. In the background on the right, in a corridor of the palace, the priests and the king's advisors watch the dinner in dismay. On the frame of the painting is a plaque attributing it to Bernardo Strozzi. The painting was restored and relined in the mid-1900s, and is placed in a gilded frame in style.

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.

Painting Village Festival

Oil on canvas. Flemish school of the 18th century. Lively and animated scene, depicting a popular festival in the village: a group of men and women in front of the village inn, recognizable by the sign, dance accompanied by musicians on the left, while the people around observe, drink, chat. Restored and relined, the painting is presented in a gilded frame in period.

Antique Painting Gallant Scene Oil on Canvas XVIII Century

Oil on canvas. French school of the 18th century. The scene depicts the moment in which an elegant young woman arrives at the site of an outdoor party: she is getting off her country carriage, pulled by dogs, gallantly helped by a young gentleman. Around her are the maid, still on the carriage, holding the parasol, the other girls in her entourage and the innkeeper who welcome the lady, and are preparing to set up the banquet with the food contained in the basket. The bright colors of the characters enliven the rural setting, while the white dress of the protagonist stands out and illuminates the scene. The painting, in the first canvas, shows traces of restoration and small losses of color. It is presented in an early 1900s frame.

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 with Still Life Oil on Canvas XVIII Century

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.

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.

Antique Painting Still Life with Game '600-'700 Oil on Canvas

Oil painting on canvas. The composition features a hanging hare in the centre, flanked by some quails and a pigeon; on the right side, a wicker basket containing chestnuts and pine branches; on the left side a bunch of asparagus and a vase of colorful flowers, whose bright and lively colors create a chromatic contrast with the other elements, all in brown and gray tones. Restored and relined, the painting is presented in a repurposed 19th century frame.

Genre Scene At The Barbershop Central European School 18th Century

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.