Religious Subject Oil on Canvas Italy XVII-XVIII Century

Oil on copper. The young Saint Sebastian, tied to a tree (according to tradition on the Palatine Hill, outside the walls of Rome that can be seen in the background), undergoes martyrdom, pierced by arrows shot by two Moors. It is the traditional iconographic representation of the young Christian martyr, a Roman soldier, a subject widely depicted in pictorial art for its intense drama and spectacularity. The painting is inserted in a beautiful coeval frame, carved and perforated with scrolls and leaf motifs.

The meeting of the Centurion Cornelius with the Apostle Peter

Mixed technique on paper (charcoal, pen, brown ink, watercolor and white lead). Signed Pasqual Otin lower left; coming from a private collection, there are the brands of two previous collections, Dalla Bella and Frigerio. The work is also accompanied by a critical study by dr. Francesco Vincenti and a certificate of authenticity from the Orler Collection. It is a fascinating drawing by Pasquale Ottino known as Pasqualotto, a Veronese painter (the surname Otin corresponds to the Venetian wording) who, after a period of training in Rome, embarked on a painting career in Verona marked "by the Caravaggesque luminism declined in the Venetian style with the use of robust colourism ". Also in this drawing the Counter-Reformation tendency is already perceived, for the meaning of immediate teaching, linked to the dramatic expressiveness of the characters. The episode recounted, drawn from the Acts of the Apostles, sees a Roman centurion who begs for blessing from Peter, inside a room that draws light from the window and is filled with other characters from the newspaper, the attendant on the right and the servant who brings bread and wine to the tray on the left. Central is the intense gaze between the two protagonists, accompanied by the hint of a smile on their lips, to express the joy of the encounter of Salvation. Framed.

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Oil on canvas. Italian school of the eighteenth century. It is a large hilly landscape, rich in vegetation and crossed by a small stream, along which two men, in the center of the scene below, are fishing from a pool of water. Above them a sky full of clouds, which fade into the distance, evoking imminent rains. Restored and relined, the painting is presented in a gilded frame from the mid-1900s.

Oil on the table. Northern Italian (Venetian?) School of the 18th century. The shape of the table suggests that the painting was part of a furnishing set, inserted in a composite wall structure together with other mythological-allegorical scenes. The painting represents a mythological episode narrated in Ovid's Metamorphoses: Mercury prepares to put Argus to sleep with the persuasive melodies of his flute, and then kills him at the command of Jupiter. Argos, the shepherd with a hundred eyes and endowed with great strength, had been commissioned by Juno to watch over the young Io, loved by Jupiter and transformed by him into a heifer. In this representation, placed within a bucolic landscape, Mercury can be identified with his hat and winged shoes, while playing his flute, and Argus sitting watching the white heifer behind him: as in many representations of this myth, also in works of great fame, Argo is depicted as a simple shepherd, without a hundred eyes and without special gifts. The bucolic rather than dramatic dimension underlines the decorative intent of the panel, which seeks to evoke lightness rather than pathos. The work is in good condition.

Oil on canvas. Italian school of the seventeenth century. The scene of traditional Christian iconography is very lively and lively, very rich in figures, details and colors: in the center the three figures of the Magi, who pay homage to the Baby Jesus, moved to the left with the Holy Family, while at right there is all the rich suite of the three kings, with gifts. Restored and relined, the painting is presented in a period frame, with shortcomings.

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. The scene, set in a desert territory close to snow-capped mountains, sees a traveling caravan, with an important female figure in the center on the back of a camel, addressing a servant below; the high social class of women is inferred, dominant over all the others, and the representation of the Queen of Sheba, the very rich biblical queen coming from the East to meet King Solomon, is hypothesized. The pictorial methods recall the production of Francesco Fontebasso (1707-1769) one of the main exponents of Venetian painting of the Rococo period. Probably the small work was a sketch for a larger canvas or fresco. On the back there is a label from the historic Simonetti collection in Rome. Restored and relined, the painting is presented in a late 19th century frame.

Oil on canvas. A seduction scene is described on a country path: a standing young woman shows her body to the man sitting to rest with her partner; while he looks away, his wife looks sorrowfully at the young harlot, holding her partner by the hand. Other travelers appear on the path. Perhaps of allegorical significance, the painting underlines the contrast between the freshness, brightness and ardor of the young female body, whose beauty is flaunted, and the ill-defined, bundled, almost hidden shape of the two elderly bodies. On the back of the painting there is a hypothesis of attribution to Giuseppe Gambarini (1680-1725) in pencil. Despite the dubious attribution, the painting is well done in the pictorial quality and in the rendering of the subject. Restored and relined, it is presented in a re-adapted antique frame.

OIl on canvas. Center-Italian School. The prelate is waring a traditional habit and he is holding a boog of prays of which is keeping the mark by putting his finghers between the pages undelining the priority of spiritual moments in his life; down on his left thare is a clock on a pile of books: it is a fair "memento mori" that is a reminder of the time passing and it reminds to dedicate life to important things as praying. The painting had been restored and displayed in a ancient frame that had been gilded again.

Oil on canvas. Northern Italy school. The Saint, recognizable by her long blond hair and bare robes, in the desert, scourges herself with a chain, while contemplating the Crucifix and placing her hand on the skull, symbol of the \\\"memento mori\\\". On the first canvas.

Stained wood boiserie decorative panels. Along the edge there is a Louis XIV taste frame with braidings of flowering vines; on top of the panels a bow supports a big panoply with musical instruments. The gilded and podded framing is not coeval.