Painting Copy by Pierre Mignard - Jesus on the Road to Calvary

Oil on canvas. In an Italian landscape, the scene is centered on a group of commoners who are trying to get away from the besieged and burned city, carrying their goods on the cart and leading the small flock; a small group of enemy soldiers, however, has chased them and is trying to stop them, with their weapons drawn. On the back of the frame there is a pencil inscription that attributes the work to Jan Both (1618 -1652), a Dutch painter known above all as the author of Italian landscapes, often animated by figures. The painting has been restored and relined in the past. It currently requires cleaning. It is presented in a period frame.

Oil on canvas. Central European school of the 18th century. At the center of the scene, set in a landscape rich in vegetation, is a shepherd with his flock of sheep, captured in a moment of rest; behind them is the farmhouse with the stable. On the back there is a collection label and the word "Tedesco" (German) is hand-written on the frame, probably to indicate the provenance. The painting is on the first canvas, with the original frame and contemporary frame, regilded.

Oil on canvas. Central European school of the 18th century. The vast Nordic landscape, rich in vegetation, is crossed by a small stream, along which, in the foreground, a herd of cows is drinking; in particular, the shepherd who, kneeling on the bank, is reciting a prayer; two other wayfarers not far away are observing him. On the back there is a collection cartouche and the word "German" is hand-written on the frame, probably to indicate the provenance. The painting is on the first canvas, with the original frame and contemporary frame, regilded.

Female Head

Tempera on wood depicting a half-length female figure; she wears a red dress over a light-colored tunic, while a green cloth rests on her right shoulder. The red hair is gathered in a central parting and is partly covered by a white headdress; the full face has an absorbed expression: the pensive gaze, the arched eyebrows and the slightly furrowed lips. Presented in a frame made with parts of an ancient frame of larger size.

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 painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Oil on canvas. Lombard school of the 17th century. According to the classic iconography, the penitent Magdalene is depicted with tears in her eyes, her hair loose, undressed, holding the jar of ointment with which she anointed Jesus in the Gospel episode, and the skull, the Memento mori par excellence. Above her, a little angel points to the sky above. The pictorial methods are very similar to a similar work by Panfilo Nuvolone (1581 -1651), an Italian painter active between Lombardy and Emilia, an interpreter of an outdated late Mannerism inspired by the dictates of the Counter-Reformation, known for his still lifes but also the author of figures similar to this one. The painting, restored and relined, is presented in an antique gilded frame.

Oil on canvas. Venetian school of the 17th century. The figures, portrayed in the foreground half-length, see Mary placed in the center with the baby Jesus in her arms; behind them on the left is Saint Joseph and below him the little John the Baptist, dressed in furs and with the traditional cross-shaped staff with the band bearing the inscription "Ecce Agnus Dei". The gazes of these four figures are turned to the left, where Saint Catherine of Siena appears, recognizable by the black habit of the Dominicans, and by her iconographic attributes, the crown of thorns, the stigmata and the lily. Jesus is holding out his hands towards her, to stipulate that mystical marriage that characterized the saint. Restored and relined, the painting shows widespread small losses of color. It is presented in a re-adapted 19th century frame.

Oil on canvas. Large in size and octagonal in shape, the canvas features a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The scene is set by a river, on whose bank rise architectural ruins of classical structures, which tower majestically over the figurines of popular characters animating the scene. The painting, already restored and relined, features several small holes, paint losses and widespread stains.

Oil on canvas. Large format and octagonal shape, the canvas presents a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The landscape sees on the left some bare rocks from which a small waterfall flows, while on the right the ruins of an architectural structure, in front of which two women in traditional popular clothes are conversing. The canvas, already restored and relined in the past, presents widespread small holes, paint losses and stains. The canvas falls into the category of eighteenth-century paintings for furnishing purposes.

Oil on canvas. Large in size and octagonal in shape, the canvas presents a landscape inscribed in a frame painted with friezes, falling into the category of eighteenth-century painting conceived for furnishing purposes. The landscape shows a village near the coast, with fishing boats on the seashore; on the left, the ruins of a colonnade dominate in the foreground, under which two figures converse. The canvas, already restored and relined in the past, presents widespread loss of paint, small holes and stains.

Oil on canvas. French school of the second half of the 18th century. Probably the work of a follower of Claude Joseph Vernet (1714 -1789), a French painter specialized in marine scenes and who painted several times glimpses of storms and shipwrecks. The scene is set on a rocky coast, near a village built on the cliff above; a strong storm is underway, which unleashes a lightning bolt, shooting from the top right, above some frightened figures of wayfarers, and directed towards the sailing ship that is sailing at the mercy of the strong waves. The sky is full of black clouds, even if in the distance a patch of blue seems to be already beginning to open up. Restored and relined, the painting is presented in a period frame.