Large Landscape Wild Boar Hunting Oil on Canvas 18th Century

The hunting of wild boar

Oil on canvas. The scene is set at the feet of a mountain on the river bank where a fisher is fishing and the focus is on a group of hunters dressed like knights and armed with swords and lances who are delivering the final blow to the already wounded and dying wild boar with the help of dogs. The large format highlights the important commissioner. Restored and relined. Revival frame.

Large Landscape with Hunting Scene Oil on Canvas 18th Century

Deer hunting

Oil on canvas. The painting is set in the woods near some architectural ruins and the focus is on the lively group of hunters dressed like knights and armed with swords and lances. They are delivering the final blow to the already wounded and dying deer with the help of dogs. The large format highlights the important commissioner. Restored and relined, it is presented in revival frame. 18th century.

Pair of still lifes with vase of flowers and birds

Oil painting on canvas. North-Italy school. Beautiful compositions with a bunch of assorted flowers in shades of red (which refer to the covers of the tables), white and brown, presented in precious embossed metal vases; peculiar is the presence in both canvases of the little bird placed on the table next to the vase. The two compositions refer to the large production of still lifes, which began to develop widely from the seventeenth century thanks to Caravaggio who believed "that he had so much manufacture to make a good picture of flowers, as of figures". This affirmation gave dignity and autonomy to still life and the start of a production of works by various authors, starting from the Roman Caravaggesque school but then extending widely to the production of Northern Italy and Flemish, which reached up to the 1900s. This type of painting is often found in pairs for a specific request of the client, given the express purpose of furniture that it had. The two works proposed here are presented in a remarkable contemporary frame, in carved wood with leafy and gilded scrolls.

Madonna with Child

Oil painting on canvas. Very human, earthly, this image of Mary's motherhood: no particular light, no halo, even Mary's veil is of a dull color, the color of the earth; on the other hand, the tenderness of the gestures and looks of both the mother and the newborn is intense. Restored and relined, it is presented in a period frame.

Still Life with Lobster

Oil painting on canvas. The work is accompanied by an authentic on photo from the 70s-80s by an expert of the Court of Milan, who attributes it to the Dutch area of the first half of the 1700s, assuming the name of Tomas Smith (1680-1750). The composition, very sober and bare, is divided into two rather clear horizontal bands, the upper one given by the dark and empty background, the lower one created by the variegated white of the support surface, which evokes the marble of an altar; in the center, the connecting element between the two parts, the still life, composed of a few elements, the lobster, a bread, a chalice, a flask. On the back there are several patches. The painting is presented in a styled frame.

Giovanni Baglione, attributed to

Herodias receives the head of the Baptist

Oil painting on canvas. Inspired by the Gospel accounts of the life of John the Baptist, the scene depicts Queen Herodias receiving the preacher's head on a plate, which her daughter Salomé had requested from Herod in exchange for her dance. Herodias is depicted here in all her royalty, with the crown and the scepter, dressed in clothes and jewels, but with an aloof and indifferent expression, almost bored, even in front of the macabre spectacle, while making the gesture of disdainfully pushing away the trophy that a servant is handing her on a platter. The work, already auctioned by Dorotheum in 2008, was published and well described in the text "Art history studies in honor of Fabrizio Lemme", published in 2017, in the chapter by Michele Nicolaci (historian of expert art of seventeenth-century painting), which presents it as an unpublished painting by Giovanni Baglione. He was a Roman artist and writer, known above all for having written "The lives of painters, sculptors and architects from the pontificate of Gregory XIII of 1572 up to the time of Pope Urban Eighth" in 1642, the first published collection of artist biographies in 17th century Rome. His writing "The nine churches of Rome", published in 1639, is also of considerable importance. His pictorial activity took place between Rome and Naples; initially of a late mannerist style, when he met Caravaggio, he adapted to his style almost reaching imitation, so much so as to arouse the indignation of Merisi and his derision, as well as the scarce consideration of his Roman colleagues; isolated and insulted, Baglione then returned to his own personal style, but he was nevertheless able to achieve good success in Roman high society, thanks also to his ability to gain favor with the powerful and reinvent himself as a man of letters in the Barberini court. His stylistic turning point with the return to a mannerist approach took place around 1630 and was defined in a production characterized by compositional forcing and almost caricatured characters. This Herodias can also be placed in this period: although in the redundant and excessive, almost ironic way of portraying the character, this work does not lack elegance, in the theatrical pose of the woman, but also of the servant, in the skilful game of contrasts. chromatic (in the dress of the queen, but also in the differences between the incarnates), in the overabundance of clothes and jewels. The canvas has been restored and relined. It is presented in a gilded frame from the late 19th century. Publication attached to the painting.

Jacob Blessing the Sons of Joseph Oil On Canvas 19th Century

Oil on canvas. This is a smaller reproduction of the original painting by Rembrandt in 1656, displayed today at the Gemäldegalerie Alte Meister in Kassel. The scene portrays the episode told in the Book of Genesis: Jacob, on his deathbed and now blind, lays his hands on the two sons of Joseph, born in the land of Egypt, including them in the plan of salvation to which God had called Abraham, Isaac and all of their descendants. The painting has many but small paint losses and small scratches, that need restoration.

Mystical Marriage of Saint Catherine Oil On Canvas 18th Century

Oil on canvas. It is a traditional representation of the Saint, pictured when, in heaven's glory and in a triumph of angels, receives the ring of her mystical marriage by Baby Jesus, in His Mother's arms, that would later be the cause of her martyrdom, symbolically represented by the palm she holds and the sword at her feet. The painting, restored, with the canvas applied on masonite, presents some paint losses. A picture from before the restoration is attached. Frame in style.

Entrance Of The Animals Into Noah’s Ark Oil On Canvas 18th Century

Oil on canvas, in its original canvas. The painting is attributable to a Flemish artist who worked in Italy for his structure; the figures have a clearly Nordic appearance, but the general arrangement and the landscape remind of Italian painting. The great scene sees the large Ark in the centre, towards which the animals are directed and are getting on, every species is in a pair ad in harmony with each other, as told in the biblical Book of Genesis; on the right, there are the only human figures, Noah with his family, ready to get on board of the Ark. The whole upper half of the piece is dominated by a sky full of restless birds and grey clouds, a foreshadowing of the impending deluge, even if a ray of sunshine illuminates Noah from a tear in the clouds, a sign of the divine presence and protection towards him. The piece, in its original canvas, is presented in a frame in style.

Male Portrait

Oil painting on canvas. North European school. The portrait, in Flemish style, has several color deficiencies along the upper and lower edges. The color of the face is intact, of which the ruddy cheeks stand out.

Empire Frames with Prints Pear Wood Italy 19th Century

The NINETEENTH Century - 1800

Empire frames with prints, pear wood; inside there is as serie of achitectual prints

Saint Nazario and Celso Oil On Canvas 17th Century

Oil on canvas. Nazario and Celso were two Christian martyrs, who died in Milan in 304 a.C., veneered both by the Catholic and the Orthodox Church, who travelled through Italy as evangelisers, and were persecuted by Romans. According to the tradition, the two young men were condemned to die and put on a ship that was supposed to take them offshore, where they would have been thrown overboard. The legend narrates that, once they had been thrown overboard, they started walking on water. There was a storm which terrorised the sailors, who asked Nazario for help. The waters got calm immediately. In the end, the ship landed in Genua, where Nazario and Celso continued their evangelising work, in all the Liguria region and pushing even to Milan, where they were arrested again and sentenced to death a second time. The painting is in its first canvas and has never been restored, it needs some cleaning up but it is in good condition (micro paint losses). It is presented in a coeval frame, with defects.