Antique Painting The Washing of the Feet Oil on Hardboard '700

Oil on canvas. In the foreground, the ruins of a large classical-style building with imposing columns occupy the scene. In the background, across a stream, is a small castle with a bridge, shaded in blue-white hues that connect the water with the sky. On the front canvas, the painting shows traces of previous restorations. It is presented in a late 19th-century frame, regilded.

Oil on canvas. Italian school, late 18th century. Portrait of a prelate in his cassock, posing before the curtain that hides the fluted columns of his place of worship. The facial features are well-detailed. The painting has been relined in the past. It has a small loss of paint in the upper right corner. In a late 19th-century frame (requires restoration).

Oil on canvas. 18th-century Italian school. In a lush, hilly landscape, stand the turreted walls of a building overlooking a pond; several women bathe in it, while a young man fishes. The painting was restored and relined in the late 19th century; it currently has some slight paint loss in the upper right corner. Presented in an early 20th-century gilded frame.

Oil on canvas. Mary is depicted here standing in adoration of her little son, who lies on the ground resting on a cushion. Both figures are crowned, a reference to their royalty. Mary is dressed in white with a blue cloak, her head surrounded by twelve stars, and a crescent moon is hinted at at her feet: these signs correspond to her representation as the Immaculate Conception. This representation therefore recalls Mary's dual role: she who is preserved from original sin from the first moment of her conception, and who is Queen of Heaven, adores her Son, placing herself at the service of his plan of salvation. The painting has undergone a restoration in the past, rather crudely on Mary's face, and has been relined. Presented in a frame on the islet.

Oil on canvas. Central European School, early 20th century. In imitation of the 18th-century style, the painting depicts a stretch of coastline with several wrecks washed up; some figures are setting fire to one of them, others are observing from the shore. The painting is presented in a period frame.

Oil on canvas. The scene depicts an episode from the 17th-century novel "Les Aventures de Télémaque" (The Adventures of Telemachus) by François Fénelon, published in 1699. In Fénelon's tale, Telemachus (son of Ulysses), while searching for his father accompanied by Mentor (who disguises himself as the goddess Athena), is shipwrecked on the island of Calypso and falls in love with a nymph. To prevent Telemachus from leaving the island and abandoning the girl, the goddess Calypso, who has taken them in, orders her nymphs to burn the ship on which Telemachus and Mentor had arrived. In the painting presented, in the left foreground, Mentor urges the young Telemachus to turn away, while he is still gazing at the girl standing on the path to the right; meanwhile, the other nymphs set fire to the boat, stranded on the shore, with their torches. The canvas, previously relined, has several paint losses. It is presented in a period frame.

Oil on canvas. The scene depicts an episode from the 17th-century novel "Les Aventures de Télémaque" (The Adventures of Telemachus) by François Fénelon, published in 1699. In Fénelon's tale, Telemachus (son of Ulysses), while searching for his father accompanied by Mentor (who disguises himself as the goddess Athena), is shipwrecked on the island of Calypso and falls in love with a nymph. To prevent Telemachus from leaving the island and abandoning the girl, the goddess Calypso, who has taken them in, orders her nymphs to burn the ship on which Telemachus and Mentor had arrived. In the painting presented, in the left foreground, Mentor urges the young Telemachus to turn away, while he is still gazing at the girl standing on the path to the right; meanwhile, the other nymphs set fire to the boat, stranded on the shore, with their torches. The canvas, previously relined, has several paint losses. It is presented in a period frame.

Oil on canvas. 18th-century Italian school. The Virgin with clasped hands and bowed face harks back to the 17th-century models of Sassoferrato. With this figure, gathered in a calm and silent devotional pose, presented alone and without a background, he proposed a new devotional model, in keeping with the approach to faith promoted by the reformers of the Roman Catholic Church, who encouraged individual contemplation. The painting has been relined.

Oil on canvas. The virgin holds her Child, who is lying on a pillow and he's asleep. Mary looks at the viewer, almost as if showing off her Son, with a serious expression, aware of his destiny, of which the child, however, seems completely unaware, still simply a child, not the Son of God. The physiognomic features of the two figures are also distinctive, particularly Mary's rounded, plump face, snub nose, round eyes, and not slender build, which are far removed from more traditional depictions of the Madonna. At the top left are some letters of an inscription that appear to have been cut off. The painting has been restored and relined in the past. It is presented in a period frame.

Male Figure

Oil on canvas. The painting's pictorial style and subject matter are reminiscent of the work of Giacomo Francesco Cipper, known as Todeschini, an artist of Austrian origins who established himself in Milan. He specialized in market scenes, open-air concerts, card players, and scenes of humble daily life, rendered with playful caricature and a search for comic effect. This work, for example, portrays a commoner biting into a chicken leg: despite the poverty evident in his clothing, the man appears cheerful and cheerful, representing not desolation but the vitality and fun of daily life, albeit in poverty. Cipper's characters, though humble, are characterized by an impertinent nature, manifested by their fixed gazes on the viewer, attracting their attention. The canvas was mounted on cardboard in the late 19th century, restored, and framed in gilded pastiglia. It currently requires cleaning.

Oil on canvas. A large architectural capriccio featuring the remains of a fragment of a classical temple colonnade, rising above the crumbling ruins of a city wall, also in ruins, with two arched gateways. Various folk figures, tiny and insignificant figures, pass along the path beneath the imposing ancient ruins. The background is a hilly landscape, evocative of central Italy, in chromatic harmony with the sky above. The painting has been restored and relined in the past. It is presented in an antique, re-lacquered and re-gilded frame.