Painting The Healing of the Man Born Blind

Oil on panel. The scene captures the Holy Family probably during the flight into Egypt, in a moment of rest during the journey; in fact, in addition to the figures of the family, an angel appears at the bottom, recognizable by the hinted wings, who offers a plate with food, from which Joseph has already taken some cherries, as the apocryphal versions of the gospels tell. The panel has some small woodworm holes. It is presented in an early 1900s frame.

Oil on canvas. The painting, restored and relined, has a small hole in the upper left. It is presented in a period frame from the early 1900s.

Oil on canvas. The scene depicts the Holy Family accompanied by St. John the Baptist and another saint kneeling before the Baby Jesus, who is conversing with them while sitting on his mother's lap; Mary, on the other hand, is turned backwards, observing the carpentry work that her husband Joseph is doing, intent on chiseling. The adult saint who stands next to St. John the Baptist, and who occupies the left half of the scene, to underline his importance for the client, has no particular iconographic signs, even if his physiognomy could refer to St. Peter. The scene is set outside a marble palace, in an Italian landscape. Restored and relined, the painting is presented in a late 19th century frame.

Oil on canvas. Venetian school of the 18th century. The landscape, rather barren and with snow-capped mountain peaks in the background, frames in the foreground a family of shepherds, sitting to rest on the edge of the road outside the village, while their herd drinks from the nearby stream; in the meantime they converse and ask directions to the commoner who passes by on the path with her basket under her arm. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Lively naturalistic composition of multicolored flowers in blue ceramic vases, which recall the sky color of the upper part of the background, which then fades into an earthy color in the lower part; on the left a parrot stands out for its unusual dark color. The painting has slight color losses, especially in the background. It is presented in a contemporary regilded 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,

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. Inside an inn, which almost seems to be made in a cave, opening onto a rather barren countryside, some men eat, drink and relax at the table next to the fire, while a woman sitting on the floor watches them amused while eating. The figures are grotesque, almost caricatural, the colors earthy, to underline the peasant extraction of the scene. Restored and relined, the painting is presented in an ancient frame.

Oil on canvas. Inside an inn, some customers are playing cards: the man sitting on the left is cheating, hiding a card in the collar of his shabby jacket, under the amused gaze of the innkeeper who arrives. The figures are grotesque, almost caricatural; the colors are predominantly earthy, to emphasize the popular setting. Restored and relined (on the back is a restorer's label dated 1952), the painting is presented in an antique frame.

Oil on canvas. This is an ancient copy of the work by Giovanni Battista Salvi, known as Sassoferrato (1609 -1685), now preserved in the Galleria Nazionale dell'Umbria (Palazzo dei Priori), which was previously exhibited for a long time in the church of San Severo in Perugia. Sassoferrato's models of Madonnas were very successful and were therefore widely copied and replicated. The painting, restored and relined, is presented in a period frame.

Oil on canvas. Italian school of the 18th century. The man, dressed in black with a white collar, poses in front of a shelf on which rest some objects: a crucifix, a bell, an inkwell, which identify the man as a magistrate. The painting has been restored and relined. It is presented in a period frame.