PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY

Oil on poplar panel. The young commoner depicted, belonging to the category of "pitocch" (a term used to indicate the state of complete indigence of the characters, the result of careful and unconventional observation of reality), reveals a marked strabismus, which transforms the laughing expression into an amused grimace. The painting shows traces of small restorations. It is presented in a 19th century frame.

Oil on poplar panel. The young commoner depicted, belonging to the category of "pitocchi" (a term used to indicate the state of complete indigence of the characters, the result of careful and unconventional observation of reality), opens his mouth wide in a cry that, from the frowning expression on his face, seems to be one of anger or pain. The painting has slight losses of color. It is presented in a 19th century frame.

Oil on panel. The small oval painting features the half-length figures of Mary holding the Child, standing and looking up at the sky, watching his dramatic destiny; the mother's gaze also expresses the same sad awareness. The painting shows traces of color restoration.

Young Women Bathing, 1855

Oil on canvas. Signed and dated in pencil on the back on the frame "LG Gaibazzi". Giovanni Gaibazzi, an artist from Parma who worked extensively for his city and for the Empress Maria Luigia of Parma, wife of Napoleon I, stood out for his portraits, but also for sacred subjects and mythological scenes. His painting, of a romantic taste, is characterized by good drawing and chromatic precision. The scene shows a group of girls bathing in a pond in the middle of a thick forest. The dark background of the vegetation makes the white-pink bodies of the female bodies stand out, luminous and graceful in their movements. The painting, on the first canvas, shows traces of two small repairs on the back. It is presented in a frame from the early 1900s.

Oil on canvas. Northern Italian school of the 19th century. The landscape depicts a wide countryside that opens onto the Alpine mountain range, preceded by the gentler pre-Alpine hill slopes; on the central path, which runs straight and perpendicular to the reliefs, a commoner is passing with his mule. The atmosphere is that of the end of the day, with pink shades illuminating the snow-capped peak. A very similar subject can be found in the production of the circle of Carlo Canella (1800 -1879), the Veronese artist known above all for his city views. The work is presented in a late 19th-century frame.

Oil on canvas. Half-length portrait of an elderly peasant couple, she with her head covered by a red scarf, he with a traditional headdress; the two faces emerge from the dark background with dignified and serene expressions. The painting is presented in a contemporary frame.

The Ancient Triskelion 1997

Mixed media on board. Signed and dated lower right. On the back, further signature, date and title. Driven by an intense intellectual curiosity that has characterized every moment of his experience, not only creative, but also human and professional, the Ancona artist Giorgio Villa has developed his own principles of thought and action, on rigorous bases of a scientific-mathematical approach, nourished by a profound poetic inspiration and a deep-rooted sense of beauty. The search for a path to follow, free from patterns or cultural ties characterizes his art; Villa moves in the sphere of imagination, feelings and the poetry of images. Each work is the fruit of a meditated inspiration, moment by moment, allowing space for reflection, for the considered gesture, analyzing the relationships between space and matter, between colors and shape, to identify the perfect synthesis, which makes a work of art unique and unrepeatable. In this work Villa depicts the Triskelion, or the ancient symbol formed by three spirals joined at a central point, more generally three intertwined spirals, or, by extension, any other symbol with three protuberances and a triple rotational symmetry.

Oil on panel. In the upper center, framed half-length, Mary presents her Son, blessing and holding the scroll of Scripture, to the three Saints standing in the lower portion of the panel. Above their heads, in Cyrillic, their names that identify them as Saint Nicholas in the center, Saint Helena and a third unidentified. Traces of previous restorations.

Oil on canvas. Italian school of the 18th century. The elegant gentleman is portrayed with some volumes placed on the surface in front of him, on the spines of which the authors can be read; the name of Paolo Valcarenghi, a professor at the Faculty of Medicine of Pavia in the 18th century, stands out in particular. The man portrayed therefore wants to underline his belonging to the world of Medicine. Restored and relined, the painting is presented in a frame reconstructed with ancient elements and equipped on the upper side with a working lighting headlight from the mid-1900s.

Oil on canvas. Portrait of a nobleman flaunting the important honor of the Order of the Golden Fleece, a chivalric order established in Bruges in 1431 by Philip the Good, Duke of Burgundy, with the task of spreading the Catholic religion, and later passed to the House of Habsburg and subsequently also to the Bourbons of Spain; it is considered the highest and most important order of chivalry. The painting, relined, is presented in an 18th-century frame, which requires restoration.

Medallions printed on copper plates. The eight medallions are from the series of medals of "Illustrious Italian Men". These eight in particular depict the profiles of eight illustrious men from the world of art and science: Antonio Allegri known as Correggio, Andrea Appiani, Benvenuto Cellini, Andrea Palladio, Scipione Maffei, Galileo Galilei, Francesco Guicciardini and Girolamo Vida. They are mounted on a cardboard panel covered in velvet and framed in a period frame.

Portrait of Lord Wood of Inchyra

Oil on canvas. On the back there is a cartouche with attribution and title of the work. Sir John Watson Gordon established himself as a portraitist, creating portraits of many illustrious English people in his life, and also becoming a court painter. The nobleman portrayed here belongs to the House of Wood of Inchyra, a town in Perthshire in Scotland. The painting is presented in a frame.

Oil on canvas. Nordic landscape, with green hilly countryside and rich in leafy vegetation, and with a rich watercourse on whose bank stands a small village; two figures of wayfarers pass on the path in the foreground. In the first canvas, the painting requires restoration for paint loss, and cleaning. It is presented in a contemporary frame.

Scenes of Court Life

The four engravings are taken from the frescoes painted by Nicolò dell'Abate for the Concert Hall of Palazzo Poggi in Bologna. The scenes were later included in the volume "The paintings of Pellegrino Tibaldi and Niccolò Abbati existing in the Institute of Bologna described and illustrated by Giampietro Zanotti Secretary of the Clementina Academy", Venice 1756. They depict four convivial moments of court life and precisely (from left to right): - The game of tarot cards - The banquet - Concert with a singer accompanied by a harp, lute and wind instrument - Concert of viola da gamba, lute and spinet players. The engravings bear the name of the painter at the bottom left, and the name of the engraver Bartolomeo Crivellari at the right, author of numerous engravings by Bolognese masters of the seventeenth and eighteenth centuries. The engravings, which require restoration, are inserted in a single wooden frame from the late nineteenth century.

Oil on canvas. The portrait derives from the half-length one painted in 1725 ca. by Ilario Spolverini (1657 -1734) and preserved at La Rocca Sanvitale in Fontanellato. Antonio Farnese (1679 -1731) was the eighth Duke of Parma and Piacenza, as well as the last of the Farnese, who had poor political and administrative skills and was unable to take care of the administration of the state and to remedy its enormous financial deficit; his subjects were burdened by blood-sucking taxes, while the court continued to get into debt with the Genoese bankers. The painting requires restoration due to paint loss and two small holes at the bottom. It is presented in a contemporary frame.

Oil on canvas. Nordic landscape with countryside full of leafy plants, crossed by flowing watercourses and rocky mountains in the background. Two wayfarers on horseback are passing on the path on the left. On the first canvas, the painting requires restoration due to the presence of a slight tear in the lower right, several paint losses and the need for cleaning. It is presented in a contemporary frame.

Antique Painting Portrait of a Young Woman Oil on Canvas 1924 Original Oil on canvas. The painting is signed Ferruccio Pellizzari, an artist not particularly well-known but already active in the 1920s (as attested by various catalogues of art exhibitions held in those years). The work effectively portrays the young woman, using broad and shaded brush strokes, with barely sketched contours. In a contemporary frame.

Oil on canvas. Flemish school of the 17th century. On the back there is a collector's cartouche. In a hilly landscape of rocks and clumps of trees, overlooking a small village on the left, a stream flows to form a foaming waterfall; on the banks some figures of peasants in transit or in conversation; on the right stands out the bird with the long tail, perched on a dry shrub. In the background, the hills fade into the sky full of clouds. The painting is presented in a regilded frame from the late 19th century.

Oil on canvas. Unidentified signature on the lower right (Terzaghi?). The scene depicts Christopher Columbus arriving at the Convento de la Rabida in Andalusia accompanied by his son Diego. The navigator was welcomed in this Franciscan convent in 1490, after receiving the news that the Catholic Monarchs had rejected his request to launch an expedition to the Indies. With the intervention of the prior and confessor of Queen Isabella, Juan Pérez, Columbus obtained that his project be heard. The painting is presented in a late 19th century frame.

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.

Rebecca at the Well

Product in good condition, shows small signs of wear. We try to present the actual state as fully as possible with photos. Should certain details not be clear from the photos, the description will apply.Oil on canvas. The scene recounts a biblical episode from the Book of Genesis: Eliezer, Abraham's servant, is sent by the latter in search of 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. Widely represented in this work, the figure of the young Rebecca stands out in the centre, intent on handing the wineskin full of water to the servant Eliezer, while all around the servants and maids observe the scene. The work, already re-framed and restored, is presented in a lath 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.