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.

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.

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. 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.

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.

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.

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. On the original canvas, currently covered by relining, the data relating to the man portrayed were written in French, currently indicated by attached photographic documentation. The character is identified as Thiard Count of Bragny, portrayed at the age of 38, in 1702. The nobleman is portrayed in armor, decorated with the honor of the royal military order of Saint-Louis (full name Chevalier de l'Ordre de Sait-Louis), a French military order of chivalry founded in Versailles by Louis XIV on 5 April 1693 and dedicated to Saint Louis (Louis IX). It was reserved as a reward for deserving officers. The painting, restored and relined, is presented in a period frame.

Oil on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor of the young Alexander, the future king then known as Alexander the Great: according to what Plutarch recounts in his “Parallel Lives”, the young Alexander was a brilliant pupil, so much so that he was also initiated into the most profound and esoteric Aristotelian doctrines, from which derives the aura of mystery and profound interiority that shines through in the work presented here. The painting has been restored and relined. It is presented in a stylish frame. The painting, restored