Vintage Mirror Brass Profiles Italy 1960s

Oil on canvas. Refined in execution, the work emphasizes the great maternal tenderness of Mary, who envelops the Child in a tender embrace, with her eyes closed and absorbed in meditation on the mystery of her Son and his destiny of Passion, announced by the small Cross that Jesus holds in his hands. Jesus has his gaze fixed in the distance, He too already projected towards his destiny. The only background to the two figures is the halo light, which radiates strongly from the head of Christ, to also surround that of his mother. Restored and relined, the painting is presented in a gilded frame from the 19th century.

Oil on canvas, applied to panel. Venetian school of the 17th century. The painting is inspired by the style of Paolo Veronese (see his painting preserved at the National Gallery), who was widely reproduced: the arrangement of the figures is the same, following an oblique ascending line that reaches the Holy Family on the left, towards which all eyes converge; similar is the background of the marble arch behind which a large landscape opens up. The painting is presented in a late 19th century gilded frame.

Oil on slate. The old hermit is kneeling in contemplation of the Crucifix, resting on some stones, preparing to eat the Eucharistic bread he holds in his hand. At the top left a crow flies in, holding a loaf of bread in its beak. It is probably Paul of Thebes, remembered as Paul the First Hermit (Egypt, around 230 – Thebaid, around 335), considered by Christian tradition to be the first hermit. He is venerated as a saint by the Catholic, Orthodox and Coptic Churches. According to legend, having retired to the mountains of the Thebaid desert to escape Roman persecution, he received a daily visit from a crow that brought him bread. The painting is presented in an ancient frame.

Rebecca at the Well

Oil on canvas. The scene tells a biblical episode from the book of Genesis: Eliezer, Abraham's servant, is sent by him to look for a wife for his son Isaac. At a well, Eliezer meets a young woman, Rebecca, who offers him some of the water she had just drawn for herself and her camels. The servant interprets this gesture of kindness as a divine sign and proposes her as a bride for Isaac. A widely represented subject, in this work the figure of the young Rebecca stands out in the center, intent on offering the servant Eliezer the skin full of water, while around the servants and maidservants observe the scene. The work, already relined and restored, is presented in a strip frame.

Oil on canvas. The wide, very bright and spacious countryside landscape, allowing the gaze to wander towards the distant blue peaks, features a flowing stream in the center, from which sheep and oxen drink; on the path to the left, in the foreground, a couple in classical clothing is walking. The canvas requires restoration and color consolidation, due to some color losses, mainly on the left. It is presented in a late 19th century style frame.

Oil on canvas. Central European school of the 19th century. The large scene is set on the banks of a river, which flows near a village and is crossed by a small wooden bridge. On the banks, in the foreground, a woman washes clothes, a shepherd waters his animals and a traveler observes the figures, resting leaning on his stick. Bright and serene, the painting has a scenographic impact. Restored and relined, it is presented in a period frame.

Female Head

Tempera on wood depicting a half-length female figure; she wears a red dress over a light-colored tunic, while a green cloth rests on her right shoulder. The red hair is gathered in a central parting and is partly covered by a white headdress; the full face has an absorbed expression: the pensive gaze, the arched eyebrows and the slightly furrowed lips. Presented in a frame made with parts of an ancient frame of larger size.

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. Italian school of the late 18th - early 19th century. The landscape of romantic taste sees a river flowing between rocky banks topped by leafy trees; on the bank, in the foreground on the left, two fishermen cast their lines into a pool of still water created by a small inlet. The painting bears a label on the frame attributing it to Domenico Pecchio (1693 -1760). Restored, it is presented in a period frame.

Oil on canvas. Venetian school of the late 17th-early 18th century. Within a large classical landscape, rich in vegetation and with pink atmospheres, there is a small group of soldiers: some, resting on a rock overlooking a stream, are watching one of them who is getting wet, after having placed his armor in the water. The painting was presented at the Lempertz auction in 2017 with an attribution to Andrea Locatelli (1695 -1741) and an estimate of €7/9 thousand; the pictorial methods of the work also seem closer to those of Marco Ricci (1676 -1730), widely taken up by other authors of the Venetian area. Restored and relined, the painting is presented in a late 19th century gilded frame.