PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY - Page 4

Oil on canvas. Flemish school of the 19th century. The hilly landscape features on the left in the foreground a tall tree towering over the fields below, with a hunter intent on aiming at a prey hidden among its branches; not far away are some farmhouses, with the typical Nordic sloping roof, in front of which other figures can be glimpsed; in the background in the distance the blurred profile of a city emerges. On the frame is applied a plaque attributing to Anthony Van Borssom (1629 -1677), a Flemish landscape painter, to whose production the painting refers in some ways. The pictorial panel has been parqueted. The painting is presented in a gilded frame from the mid-1900s.

Torrefazione Caffè Pernigotti, 1924

Color lithograph. Signed and dated 1924 top right. Printed by the printer Barabino & Graeve of Genoa. This is an advertising poster for the well-known Pernigotti company of Novi Ligure, today renowned above all for the famous Gianduiotti chocolates, but which began with the production of various confectionery and similar products. Ettore Mazzini, a Genoese portrait and landscape painter, also created various advertising illustrations for important Ligurian companies (we recall the poster for the naval, thermal, electrical and mechanical constructions of the Ansaldo group of Genoa). The poster presented is in good condition, with humidity stains and a cut in the paper. Framed.

Landscape with Figures, 1930 ca.

Oil on canvas. Signed lower right. Ivan Karpoff, of Russian origins but raised and artistically established in Italy, was appreciated for his painting oriented towards the Italian impressionistic realism of the late 19th century; he devoted himself mainly to landscapes and portraits. In this work he offers a glimpse of the countryside and hills overlooking a lake, with two peasant figures intent on harvesting. On the back of the canvas there is a dedication: "Campanini... to the Manara spouses Luciano and Adriana, Milan 28 October 1939 XVII". The painting is presented in a mid-1900s frame.

The Return from the Feast of the Madonna dell'Arco in Naples

Oil on canvas. This is a copy of a famous painting by the painter Louis Léopold Robert (1794 -1835), which was exhibited at the Salon de Paris in 1827 and bought by King Louis Philippe; it is currently preserved in the Louvre Museum. The painting depicts a joyful festive scene, rich in folklore with costumed characters dancing the tarantella and in the background the fantastic panorama of the city of Naples. Robert, a Swiss artist, stayed several times in Italy, where he found inspiration for the creation of many works and established himself as a romantic genre painter and Grand Tour landscape painter, whose subjects were highly appreciated and replicated. The painting of the "Return from the feast of the Madonna dell'Arco in Naples", was part of a project by Robert, who intended to paint four large canvases on the seasons, set in four different parts of Italy: this one represented Spring. The canvas presented here, unsigned, is nevertheless of high pictorial quality. Restored and relined, it is presented in a late 19th - early 20th century frame.

Oil on canvas, applied to a wooden plate. The Saint is depicted in the foreground, half-length: the naked torso of the body is partially covered by a fur falling from the shoulders, on which her long hair stretches; the Magdalene keeps her eyes turned to the sky, in a contemplative state, in her hands the skull, Memento mori, and next to it a crust of bread, her only nourishment in the life of penance. Behind the figure is a dark background, from which a beam of light emerges to create a halo around her head and accentuate the pathos of her expression. The painting has slight color nuances, especially along the right margin. It is presented in a frame in style,

Interior with Figures and Animals, 1917

Oil on canvas. Signed and dated lower right. In Giuseppe Solenghi's extensive production, rich in lyricism expressed with delicate and refined tones and strokes, the urban landscapes of Milan or the Venetian lagoon views prevail, but there are also several glimpses of the countryside, mainly Lombardy, as well as rustic interiors. In this work the artist portrays the interior of a peasant house, where humans and animals coexist: the scene is pervaded by a serene atmosphere of family everyday life, in which the warm light of the sun filtering through the open door creates plays of light and shadow on the earth tones of the interior. The painting is presented in a mid-20th century frame.

Oil on canvas. Tasty depiction of popular life with caricature-like figures: three full-length commoners are depicted on the street while they converse intensely with each other, exchanging confidences or... gossip! Unsigned, the painting requires restoration due to a tear at the bottom.

Copy from David Teniers II

Oil on panel. The painting is a revised copy of the famous work by David Teniers the Younger (1610 -1690), executed between 1634 and 1640 and currently preserved at the Prado Museum in Madrid. The title of the lively scene refers to the so-called Twelfth Night, a celebration corresponding to the Epiphany, precisely twelve days after Christmas, which was the last night of celebrations, in which one could drink beyond one's limits, dedicate oneself to love, to partner and gender swapping, a sort of carnival, during which the King of Misrule (literally the king of Misrule) was elected, a ruler in reverse who imposed his laws, subverting rules and behaviors. This work, like many others by Teniers, had such success linked to the numerous commissions from royals and aristocrats during the 18th century, as to induce a large posthumous production of copyists, many of whom even signed with the artist's name. The painting presented here has several paint losses, to be remedied. It is in a late 19th century frame, adapted for size.

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.

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.

Oil on panel. Signed lower right R.lo Pellegrini. It is probably a work by Romolo Pellegrini, who lived between the 19th and 20th centuries, an artist of landscapes and still lifes with delicate colors. Here we see a bright, flat countryside, with a flock of sheep grazing in the meadows, watched over by the shepherd. The work is presented in a contemporary frame, with missing parts.

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.

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. 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 on canvas. Set in a classic landscape, rich in vegetation, the scene represents the biblical episode from the book of Genesis which tells how the people of Israel, who are crossing the Sinai desert to reach the Promised Land, find themselves without water: Moses invokes God's help and performs the miracle of making water spring from a rock. In the scene, the people of Israel rejoice and celebrate the miracle, rushing to bathe and quench their thirst in the pool of water evoked by Moses, who can be glimpsed standing to the left of the dry trunk in the foreground, a symbol of the aridity of the land. The branches of the trees moved by a strong wind and the sky full of dark clouds that are beginning to tear, evoke the presence of God. The multiple figures, rendered with accurate details, create movement and action. This painting has already been presented at the Lempertz auction with an attribution to Giovanni Ghisolfi (1623 -1683), an artist who developed a perfect combination between past and modernity, thanks to a deep interest in classicism, rendered however with effective perspective precision in the landscape and great precision of details in the figures. Restored and relined, the painting is presented in a late 19th century gilded frame.