Vintage Mirror Carrara & Matta White Plastic Design Italy 1970s

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

Virgin Mary with Child

Oil on canvas. The work is a reinterpretation of the famous painting by Francesco Trevisani, now housed in the Galleria Nazionale d'Arte Antica in Palazzo Barberini. In this version, the small images have been added to the lower right and left. The virgin Mary is depicted engaged in a dual gesture: with one arm she tenderly supports the sleeping baby Jesus, leaning against her, his hand resting on a red apple, a symbol of salvation (the apple recalls original sin); with the other hand, Mary holds a book, presumably a prayer book, which she reads with intense concentration. Thus, both Mary's human, carnal, and spiritual dimensions are depicted. Having previously undergone restoration and relining, the painting is presented in a period frame.

Oil on canvas. The name of the nobleman is painted at the top. There are several portraits of Francesco Maria II della Rovere (1549-1631), the last Duke of Urbino, attributed to the Marche or Emilia region. In them, the nobleman is portrayed both in armor and in civilian dress, with the traditional ruff. On the first canvas, there is a small amount of damage to the left of the face. The painting is presented in a late 19th-century gilded frame.

Oil on panel. The painting is a reworking of the model created by Michelangelo Merisi, known as Caravaggio, and housed in the Capitoline Museums. Saint John the Baptist was a frequent subject in Michelangelo's paintings, often depicted as a child or young man, but also as an adult. In this case, John is still a boy, smiling serenely and amusedly, still unaware of his fate, while playing with the lamb, his iconographic symbol of sacrifice and martyrdom. The back of the panel features a sealing wax stamp from an old collection.

Stream North Wales 1884

Oil on canvas. Signed and dated lower left. Label on the back with title, date, and additional signature. Painter Adam Barland specialized in landscapes and rural scenes of the British mainland, such as this glimpse of a Welsh countryside with a stream running through it. The work is housed in an early 20th-century frame, which features several losses and some missing gilding.

Copy from Sassoferrato

Oil on canvas. This is a copy of the Virgin Mary painted by Giovan Battista Salvi, known as Sassoferrato, who became famous for this type of depiction of Mary, portrayed in a meditative pose, with her hands clasped and her head bowed. The painting has been restored and relined in the past, and is now housed in a late 19th-century rectangular gilded frame.

Oil on canvas. Traditional landscape, thick with vegetation, with a stream in the lower left, bordered by paths along which several figures pass, including the one in the foreground, dressed as a Roman soldier, who appears to have been detached from the retreating group in the center. Previously restored and relined (new stretcher), the painting shows minor damage on the right. It is presented in a refitted late 19th-century gilded frame.

Oil on canvas. A widely reproduced subject, particularly in various versions by Achille Leonardi (1800-1870), it depicts a female figure standing on a rock in the midst of a stormy sea on a dark night, tenaciously clinging to an anchor. It is precisely this element, a symbol of strength or salvation from shipwreck, that leads to the title Allegory of Hope. On the back is an old attribution to Giulio Aristide Sartorio, reflected on the brass plate at the bottom of the frame. The work is presented in an eclectic contemporary frame of carved and gilded wood: the outer rectangular frame is carved with baroque motifs, including scrolls, acanthus leaves, and grape vines; the segments of the inner frame, forming the oval section, are engraved with leaf-like carvings.

Oil on canvas. French school, late 19th-early 20th century. With a nod to Impressionism in his choice of interplay of light and nuanced colors, the painter depicts a hillside meadow where groups of families are relaxing and children are playing. The scene is divided into two distinct sections, sky and earth, by following the sloping ridge of the large flowery meadow, with tufts of wildflowers in the foreground. The painting has some minor damage in the upper right corner. It is presented in an early 20th-century frame.

Glimpse of a Village with a Fruit Seller

Oil on canvas. Signed lower right. View of a neighborhood crossed by a small bridge over a canal; central to the street is the figure of a fruit and vegetable vendor, sadly awaiting the arrival of customers on the threshold. Paolo Baroni produced both landscape and folk paintings, as well as drawings, caricatures, and decorative works. Traces of repairs are visible on the back of the canvas. It is presented in a contemporary frame.