Antique Painting Portrait of a Noblewoman XVIII Century

Oil on canvas. Northern Italian school, 17th century. The large scene is animated by numerous intertwining figures: in the center, illuminated by the beam of light coming from above, Mary with the baby Jesus in her arms, watched over by St. Joseph on the right; on the left, the three wise men, bearing their gifts in rich caskets, and their entire entourage, along with the angels watching from above. A curious detail is the two little angels at the bottom, preparing the manger to welcome the baby Jesus. The painting has been restored and relined in the past. Frame in period style.

Oil on canvas. The scene depicts a plea for clemency from a king: a man begs the king to pardon the young man who is about to be beheaded by two servants; curiously, a crowned head lies at the king's feet. The scene takes place in a camp near a city, with several soldiers attending, while the two prisoners are in civilian clothes, as are the servants brandishing swords over the prisoner. The scene is not clearly linked to a specific biblical historical episode, but it certainly aims to convey the king's mercy, contrasted with severe justice. The painting has been restored and relined in the past. It is presented in an early 20th-century frame, regilded.

Disciple of Carlo Cignani

Oil on canvas. This work is one of several contemporary versions and replicas of a work by Carlo Cignani, testifying to the subject's success. It can be traced back to his workshop or one of his followers. The allegory of Charity was one of Carlo Cignani's favorite themes, and he painted it several times. She is always depicted as a breastfeeding woman, often surrounded by numerous children, a symbol of the unconditional love she gives to others. In this depiction, the woman is breastfeeding two older children while she covers the swaddled newborn sleeping in the crib. The scene is lively and serene, characterized by natural gestures, simple yet full of tenderness; one of the children holds two cherries, a symbol of love and sweetness. The painting shows signs of restoration and relining carried out in the late 19th century. The gilded frame, decorated with friezes, also dates back to this period.

Copy from Jacopo Palma il Vecchio

Oil on canvas. The original painting from which this painting is based, faithful even to its size, belonging to a private collection, was exhibited in 2022 at the exhibition organized by the Museum of Santa Caterina in Treviso. The work depicts the Madonna and Child in the center, with two saints on the right, almost isolated in a spiritual discussion. The rightmost figure is Saint Catherine, recognizable by her cogwheel symbol; on the left is Saint Joseph, depicted with a youthful appearance, likely because he uses the features of the patron. The painting has been restored in the past. It is presented in a gilded frame, in period style.

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing performed by Jesus: while he goes with his disciples, he meets on his way a sick man, probably with leprosy, a disease that involved isolation and banishment from the city; the man invokes Christ who performs the miracle and heals him. The painting places the event on the left edge of the scene, in the foreground, where the figures dressed according to the typical style of the times of Christ stand out for their bright colours; moreover, the landscape that fills the rest of the scene is decidedly Nordic, with a river full of water flowing in a countryside full of vegetation, and a city in the background under mountain peaks. The pictorial description of the vegetation is meticulous and precise, rich and well defined in the details: the broken trunk in the foreground, the fronds of the large tree behind the characters, the birds flying high in the sky, the small flowers on the shore, the nuances of the The water in which plants and clouds are reflected are painted with a pictorial refinement typical of Flemish painting, similar in style to that of the great Antwerp artist. The painting is presented in a repurposed antique frame.

Oil painting on canvas. Neapolitan school of the 17th century. A composition of variegated flowers, in light shades, is placed in a vase, black like the background, on a marble base, of which only the base can be distinguished, because it is covered with a fabric that is also black, of which only the golden trimmings stand out willing to create a game of curves; Two birds rest on both sides of the top, a large pigeon on the left holding a twig stolen from the composition in its beak, and a red-headed woodpecker on the right. Along the left margin a landscape opens up, with a tall curved tree under a dark sky, and a city in the background. Restored and relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Central Italian school of the 17th century. The unusual and particular representation presents on the left the three figures of the Holy Family, with Jesus already a child, sitting at the table and blessing the simple meal they are about to consume (consisting of fruit and bread); the scene, a subject depicted rather rarely and generally with a more sacred character due to the presence of angels serving food to the family, here instead has the flavor of very normal and simple domestic intimacy. Instead, everything around the Holy Family stands out majestically, the glimpse of a Renaissance city, with tall buildings with loggias and colonnades, presented according to a beautiful perspective effect which leads, at the bottom on the right, to the entrance walls of a richly turreted city, probably Jerusalem. Restored and relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. The scene takes place near a military camp: outside a tent on the left an army leader, probably Greek, is receiving offerings from a group of men, poor and ragged, who prostrate themselves before the new master; the first is holding out some loaves of bread, another is taking something out of a sack, the third is showing the wounds on his body to ask for mercy; behind them other figures of beggars are approaching, forming a scattered line on the path fading into the distance on the right. In the background on the left, life in the military camp is bustling. The painting has been restored and relined.

Oil painting on canvas. Central Italian school of the 17th century. In its pictorial style, the painting recalls the production of Angelo Caroselli (1585-1652), a Roman Baroque artist who was a painter, copyist, restorer, but also a pasticheur and connoisseur of art, i.e. creator of paintings "in the manner of"- in “technique” and in the “style” of a specific artistic period or of a specific author, even assembling “parts” taken from different paintings. Initially Caravaggesque, Il Caroselli later developed his own personal artistic language, which was copied by many minor artists. In this work the fixed and almost exasperated expressiveness of the character stands out, whose elegance of the seventeenth-century dress and the almost feminine features of the face with its rosy complexion contrast with the crudeness of Goliath's head, bloody, with the large stab wound that stands out against the mortal pallor. The painting has been restored and relined, retaining the original wooden frame. It is presented in a contemporary wooden frame.

Oil painting on canvas. Italian school of the 17th-18th centuries. A large composition of colorful flowers, in embossed metal vases, and some fruits scattered on the ground, are placed close to a wall overlooking a maritime landscape: the brightness of the sky and sea on the right contrasts with the shaded area on the left, on which the colors of the flowers stand out. The painting, relined and restored, has a significant crack. It is presented in a contemporary lacquered and gilded frame.

Tamar and Judah

Oil on canvas. Venetian school, 17th century. The story of Tamar, told in the book of Genesis, is a tale of deception, justice, and divine providence. Tamar, widowed of Judah's first two sons, disguises herself as a prostitute to conceive from Judah himself, since he had denied her a third child. Tamar becomes pregnant and, showing the seal, cord, and staff that Judah had given her as a pledge, reveals the truth and forces Judah to admit his guilt and acknowledge the twin sons who will be born, who will enter the lineage of David and Jesus. The story has been widely depicted artistically: Tintoretto's version is famous, later revived by Bassano, and the painting presented here is similar to it in the positioning of the figures and the presence of the dog on the right. Restored and relined in the first half of the 20th century, the painting currently shows slight loss of color. It is presented in an antique frame.

Oil on canvas. Inside a cave, against a backdrop of snow-capped peaks, a holy hermit is absorbed in meditation and ecstatic contemplation, before the Crucifix but with his gaze turned heavenward. The painting shows signs of early 20th-century restoration and relining. It is presented in a period frame.