River Landscape Painting

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.

Family Lunch 1802

Oil on canvas. Signed and dated lower left. Genre scene of popular taste, it portrays a bourgeois family preparing to have lunch: the father, already seated at the table, is about to bless the meal, while his wife and son, standing, follow the prayer. Little is known about Charles Christophe Coventry, an English painter of whom we know mainly genre scenes of popular settings, such as this one. Restored and relined, the painting is presented in a period frame.

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

The Drinker

Oil on canvas. The painting harks back in its pictorial methods and subject to the production of Giacomo Francesco Cipper, known as Todeschini, an artist of Austrian origins who established himself in Milan. He was a specialist in market scenes, open-air concerts, card players, and scenes of humble daily life created with laughing caricatures and a search for comic effect. As in this work, which portrays a commoner, intent on drinking wine: despite the poverty that shines through his clothes, the man appears cheerful and laughing, perhaps due to excessive drinking, to represent not the desolation but the vitality and fun of daily life, however miserable. The painting has been restored and relined and features, on the back of the frame, a small cartouche with details of the restoration carried out. It is presented in a readjusted antique frame.

Oil on canvas. The noblewoman is richly dressed, with an elegant red cape resting on her shoulders, which leaves the lace-trimmed dress uncovered; her hair is embellished with pearls. At the top right of the canvas, the coat of arms of the woman's family also appears: tripartite, it features two rampant and crowned lions facing each other, surmounted by a plausibly floral decoration. Restored and relined, the painting is presented in a period frame.

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 scene tells the evangelical episode of the healing of the man born blind by Jesus. At the center of the scene, Jesus is performing the miracle, touching the eyes of the man, who shows his faith with an attitude of prayer, as narrated in the Gospel of John: "Jesus spat on the ground, made mud with the saliva, spread the mud on the eyes of the blind man and said to him: «Go wash yourself in the pool of Siloam». He went, washed and came back seeing." The supporting characters are particular: on the left some figures spy on the event, hidden behind a column; on the right the group of apostles in the second line can be recognized by their physiognomic features Peter and John -, while a man in front of them observes the scene through a magnifying glass: This instrument usually symbolizes the spirit of research, perhaps here the rational research that does not allow one to look with the eyes of faith and obtain the miracle. The painting has been restored and relined.

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,