Antique Painting Religious Subject Moses XVII-XVIII Century

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. 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.

Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Virgin Mary seated on the clouds and assisted by two angels who support her garments, is venerated by two saints, kneeling at her feet: on the right the young woman in princely clothes, at whose feet is resting a royal crown, it refers to Elizabeth of Hungary; on the left, the saint holding the Infant Jesus in his arms can be identified as San Caetano da Thiene. Particular is the play of glances between the various characters, which intertwine together with the positions and gestures, to create an almost circular movement. The painting has been restored and relined. It is presented in an ancient frame restored at the beginning of the 20th century, with various current shortcomings (to be restored).

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Oil on canvas. Lombard school of the 17th century. According to the classic iconography, the penitent Magdalene is depicted with tears in her eyes, her hair loose, undressed, holding the jar of ointment with which she anointed Jesus in the Gospel episode, and the skull, the Memento mori par excellence. Above her, a little angel points to the sky above. The pictorial methods are very similar to a similar work by Panfilo Nuvolone (1581 -1651), an Italian painter active between Lombardy and Emilia, an interpreter of an outdated late Mannerism inspired by the dictates of the Counter-Reformation, known for his still lifes but also the author of figures similar to this one. The painting, restored and relined, is presented in an antique gilded frame.

Oil on canvas. Venetian school of the 17th century. The figures, portrayed in the foreground half-length, see Mary placed in the center with the baby Jesus in her arms; behind them on the left is Saint Joseph and below him the little John the Baptist, dressed in furs and with the traditional cross-shaped staff with the band bearing the inscription "Ecce Agnus Dei". The gazes of these four figures are turned to the left, where Saint Catherine of Siena appears, recognizable by the black habit of the Dominicans, and by her iconographic attributes, the crown of thorns, the stigmata and the lily. Jesus is holding out his hands towards her, to stipulate that mystical marriage that characterized the saint. Restored and relined, the painting shows widespread small losses of color. It is presented in a re-adapted 19th century frame.

Oil on canvas. Portrait of a nobleman, proud with his hand resting on the hilt of his sword and dressed in a cloak edged with ermine. At the top right appears the coat of arms of his family, which features a red lion rampant crowned and holding a sword; across is a band with three groups of balls arranged in a flower. A similar lion rampant is found in the coat of arms of some cities in central Italy, such as Faenza. Restored and relined, the painting is presented in a contemporary frame in carved and lacquered wood.

Oil on canvas. French school of the second half of the 18th century. Probably the work of a follower of Claude Joseph Vernet (1714 -1789), a French painter specialized in marine scenes and who painted several times glimpses of storms and shipwrecks. The scene is set on a rocky coast, near a village built on the cliff above; a strong storm is underway, which unleashes a lightning bolt, shooting from the top right, above some frightened figures of wayfarers, and directed towards the sailing ship that is sailing at the mercy of the strong waves. The sky is full of black clouds, even if in the distance a patch of blue seems to be already beginning to open up. Restored and relined, the painting is presented in a period frame.

Adoration of the Shepherds, ca. 1620

Oil on canvas. Venetian school of the 17th century. Looking at the models spread by Jacopo Bassano, the painting presents a scene full of figures and surrounding elements typical of pastoral life, elegant but with a rustic simplicity. The shepherds create with Mary and Joseph a circle of figures adoring the Baby Jesus, a circle in which the animals, the ox and the sheep also participate, while the little angels complete the scene by circling above. The work can be traced back to the production of Baldassarre D'Anna, a painter born in Venice who trained with Leonardo Corona, of whom he reproduced the chromatic liveliness and the chiaroscuro instance, and then worked in Venice, in Dalmatia, in Istria and in the whole Friuli area. It is placed in the artist's best phase, between 1610 and 1620, in particular we find the same characteristics and many characters of the series of eight canvases made around 1620 for the Santuario delle Grazie in Cordovado in the province of Pordenone: similar are the vivid colors spread with clear backgrounds and sharp draperies, the energetic contours, the severe and marked physiognomies that are found both in the shepherds and in the kneeling Madonna. We also find in the work the realistic notes "alla Bassano", such as the basket of eggs from which a napkin emerges, the architectures devoid of any monumentality. Due to its small size, this canvas can be traced back to a private commission, intended for personal devotion or for collecting. The painting, restored and relined, is presented in a gilded frame in style. The painting is accompanied by an expertise.

Oil on canvas. At the center of the scene a king kneels in a contrite attitude before an old man, who bends toward him with an attitude of benevolent welcome; around him the soldiers of the entourage and other dignitaries assist, participating and obsequious. It could be the biblical episode of King David's repentance before the prophet Nathan, who opened his eyes to his sin of concubinage with Bathsheba and the murder of her husband Uriah, and then assures him of the Lord's forgiveness. Restored and relined, the painting is presented in a period frame, composed of ancient elements, with several missing parts.

Oil on canvas. The scene depicts a battle between an army of Moors and white soldiers, defending a fortification from which they fire cannons, while in the background, on the top of a promontory, a white city emerges. Set near the sea, with several invading vessels heading towards the coast, the scene focuses on the capture of the Moorish king, in the center on his white horse, with a dismayed expression on his face because he is surrounded by opposing soldiers who try to unseat him, while his own soldiers try to defend him. The atmosphere of the scene is dominated by the dust and smoke of the cannons, which cover all the characters in an earthy veil, even where the colors of the clothes would be more vivid. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Venetian school of the 18th century. The large Nordic landscape, with verdant mountain slopes through which a river flows, is inhabited by several figures in the foreground: a group of people are listening to a young man standing in the center, who is announcing something, pointing, with his arm stretched upwards, to the sun that is tearing apart the dark clouds. It evokes a sermon by Saint John the Baptist, although no iconographic element specifically refers to this character. The painting, restored and relined, is mounted on a stretcher from the early 1900s. It is presented in a contemporary frame.