Still Life Oil on Canvas - Italy XVIII Century
Work title: Paesaggio con frutta e uccello
Subject: Landscape with animals
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Paesaggio con frutta e uccello
Oil on canvas. The composition is not a traditional still life because the fruit (grapes, pears and pomegranates) and the white bird are inserted in a large landscape, as its added elements in the foreground; Behind them a green countryside opens up, near a lake overlooked by a house; the stormy and windy sky heralds a storm. Restored and relined, the painting is presented in a period frame.
Product in good condition, with small signs of wear.
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Time: XVIII Century - from 1701 to 1800
Subject: Landscape with animals
Artistic technique: PitturaLa pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.
Technical specification: Oil on canvasThe oil painting is a painting technique using powder pigments mixed with bases in inert and oils.
Oil on canvas. Northern Italian school of the 17th-18th century. On the back this label of the Art Gallery with the indication "Venetian School of 1600". The Gospel episode of the deposition of Christ from the Cross is depicted. The body of Jesus, which stands out white for the pallor of death but also as a symbol of his purity, stands out in the center among the other figures, the only one inert among the other characters. His arms still open while he is detached from the Cross, constitute a link between the two figures of Mary and John standing below him, and the sky. Around several figures that chorally create movement, intertwining, shapes and colors. The restored and relined work is presented in a coeval frame, in carved, stuccoed and lacquered wood.
Oil on canvas. The two large canvases present the figures of two Greek divinities, Venus and Mercury, painted in the manner of statues inserted in a loggia, in almost monochrome tones to recall marble, and on a dark background. Mercury is recognizable by the staff with the coiled snake, called the Staff of Asclepius, one of the symbols of the god; Venus is traditionally depicted in a pose that flaunts her nudity, that is, her beauty. The two panels are conceived as complementary parts of an interior design. Restored and relined, they are framed in simple wooden strips.
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
Oil on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a large landscape, as its added elements in the foreground; Behind them opens a verdant countryside with a village on the hill. Restored and relined, the painting is presented in a period frame.
Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.
Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family sitting in the center, observing the companion who holds the child in her arms in swaddling clothes; all around, the animals, from the faithful shepherd dog to the beasts of the flock, sheep, goats and cows, also at rest. The great naturalism of the animal figures stands out, which refers as a pictorial modality to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best painter of animals active in Italy in the seventeenth century, characterized by the peculiar ability to evoke the fleece and the looks of animals. The work, restored and relined, is presented in a gilded style frame.
Oil painting on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.
Oil painting on canvas. North European school. The pleasant portrait of a young woman in an elegant evening dress embellished with a round of pearls around the neck, recalls the pictorial ways of Peter Lely (1618 -1680), the Dutch painter who devoted himself mainly to portraiture, becoming at the court of London and throughout the kingdom of England the successor, in the role of portraitist, of Antoon van Dyck. The painting, restored and relined, is presented in a period gilded frame.
Oil on canvas. Lombard school of the seventeenth century. A smiling young girl is portrayed in an elegant black dress, embellished with lace on the neckline and a play of red and green laces and ribbons on the sleeves, which match the red embroidered petticoat; she wears her jewels around her neck, wrists, ears, in the hairstyle of her hair, where the austerity of pearls is lightened by colored ribbons; she holds a bouquet of flowers in her hand, which emphasizes her gracefulness and grace. Restored and relined, on the second canvas there is written, probably a copy of the original on the first canvas, which indicates who the young woman is: \\\"Margh.a D. Gridonia Gonz. Agnella - Soada Maffei - D\\\'etta Anni XVIII\\\", followed by a coat of arms with the initials C FAS This writing, in addition to defining the name and age, highlights the young woman\\\'s belonging to the College of the Virgins of Jesus in Castiglione delle Stiviere, founded in 1608 by the Marquise Guidonia Gonzaga together with the two sisters Cinzia and Olimpia, all nephews of San Luigi Gonzaga. This college had the purpose of imparting an education to young noblemen or young people from good families, who, with the dowry donated to the college, contributed to the sustenance of the same. The portrait has minor flaws. It is presented in an ancient, non-coeval frame, with small shortcomings.
Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.
Oil on canvas. Venetian school. The two small glimpses present a lake landscape animated by numerous figures in activity (fishermen on the shore or on boats, travelers with their pack animals, small traders waiting for transport by boat); the architectural ruins of classical taste on the banks are peculiar. The paintings recall the ways of landscape painting widely spread in Veneto in the eighteenth century, which began at the end of the seventeenth century with Luca Carlevarijs (1663-1730) and then resumed by Michele Marieschi (1710-1743): oscillating between engraving and canvas of small or large format (in particular to respond to the great commercial demand of foreign travelers) such views and landscapes on the one hand faithfully testify the magnificence of the historic buildings of Venice and the beauty of the lagoon or the variety of the rural, lake and mountain landscape of the hinterland, on the other hand they indulge the creativity and imagination of the artists, combining real existing buildings with compositions of the imagination and creating a fantastic painting with a pre-romantic taste. The two landscapes are mounted on English frames from the mid-19th century, a period in which, following the Grand Tour, many works were purchased by foreign travelers, especially English, only to be bought back by Italian collectors in English auctions in the first half of the 20th century. . In fact, these works come from an important historical Milanese collection. They are presented in gilded frames from the first half of the 20th century.
Portraits of Famous Paiters
Portraits of Famous Paiters
Hand-coloured engravings on paper. These are forty self-portraits of famous painters, taken from the work by Carlo Lasinio and published by Nicola Pagni and Guidobeppe Bardi in Florence between 1790 and 1796, the "Collection of 324 portraits of excellent artists". Each print consists of an illustrated part with the portrait and a superimposed scroll with a two-line inscription with the name of the painter and some personal details, followed by an order number. The whole is framed with ornamental motifs in the four corners. Lasinio made this collection by also recovering plates previously engraved by other authors and colouring them, printing them a second time with coloured inks. The engravings are presented in stylish frames.
An elegant porcelein centerpiece manufactured by Nanni Valentini in the late 1960s, with dark green decorations. Under the basement the manufacturer's trademark and a paper label are present. 'Arcore Ceramica' was founded in 1967 by Marco and Tina Terenzi, wife of the sculptor and ceramist Nanni Valentini. The object is coming from an important private collection in Milan.