Antique Painting Edouard D'Otemar Portrait of a Young Woman '800 - Portrait of a Young Woman

Farmhouse with Commoner and Ducks

Oil on panel. Signed and located at Rome lower right. Domenico Pennacchini specialized in genre scenes, often set in ancient Rome, but many with rural subjects, like this work, depicting moments from the daily life of Roman peasants. The work is presented in an early 20th-century frame.

Oil on oval panel. The painting reflects 18th-century pictorial styles: in a broad landscape with mountain peaks in the background, a river flows, flanked by houses; at the center of the scene, a stone bridge spans it, over which several figures walk, while other characters go about their daily tasks on the path or along the river itself. The painting is presented in a contemporary gilded wooden frame.

Tempera on pith paper. Chinese, Canton, Qing dynasty, ca. 1860. A collection of twenty-eight paintings depicting Chinese courtiers, scholars, and merchants. Originally kept in an album, they are presented here in a beautiful frame decorated with embroidered floral fabrics. Pith paper is a thin, translucent material derived from the pith of the Tetrapanax papyrifer tree, or "pith plant," native to China and Taiwan. Pith paper entered painting to meet the growing demand for small, inexpensive, and easily transportable souvenirs following the massive growth of trade with China in the first quarter of the 19th century. Because many were sold in albums and thus protected from light, they retain their vibrant colors even today.

Oil on canvas. Second half of the 19th century. Intense close-up portrait of a man, probably North African, which belongs to the artistic period defined as orientalist, that is, in that artistic production that was fascinated by the oriental world, following the numerous trips in vogue in the 19th century to the warm and exotic lands of the countries of Western Asia. The painting is presented in a period frame.

Oil on canvas. French school of the late 18th - early 19th century. Portrait of a gentleman in elegant bourgeois dress. The canvas has slight tears and requires cleaning. It is presented in a gilded 19th century frame.

Oil on canvas, applied to panel. French School. Signed F. Barthélemy and dated 1876 lower left. The scene is in oriental taste and setting, and suggests the domestic and intellectual education of a young girl (the reference, albeit secular, to the Education of the Virgin is evident!): a young girl, standing at the center of the scene, while intent on embroidery, listens to the teaching of her mother, who is holding some written sheets in her hands; the elderly woman is dressed in oriental dress and reclining on a triclinium, while, behind her, a servant moves the curtain, revealing the background of an imposing classical temple. The scene is characterized by carefully crafted and richly detailed settings, such as the bunch of flowers on the embroidery table, the fabric covering the triclinium on which the mother is reclining; the intimate and domestic atmosphere is underlined by the earthy colours of the palace walls, on which the bright colours of the figures stand out, well lit by the light bursting from outside. The painting is presented in a period frame.

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent the Israeli population became too numerous and could rebel against slavery), he was found by a handmaid of Pharaoh's daughter, who decided to adopt him and saved him. The scene, set along the river, is entirely occupied by the female figures of the princely retinue, crowded together and projected towards the bottom right corner where the basket with the newborn is placed. All eyes are also turned towards the child, in the direction indicated by the outstretched arm of the woman in the foreground on the right. The roundness of the female forms stands out, especially of the three figures in the foreground, where plays of light and shadow highlight the complexions that emerge from the clothes. Restored and relined, the painting is presented in a frame.

Oil on canvas. 18th-century French school. Traditional portrait of a gentleman, wearing a wig and a flowing velvet cape. The work is presented in a late 19th-century gilded frame.

Oil on canvas. Tuscan school, 17th century. The Saint is traditionally dressed in the Dominican habit, with a crown of thorns on her head and, at her feet, a lily, a skull, and a prayer book. Unconscious in mystical ecstasy, she is supported by two angels while Jesus is taking her heart, indicating the saint's total dedication to Christ. Although the scene is depicted outdoors, an imposing baroque structure appears in the background, symbolizing the temple as a place of prayer. The mystical ecstasy of Saint Catherine has been widely depicted: this version derives from a work by Francesco Vanini (1563-1610), of which several ancient copies are known. The work, on its original canvas and with small patches of color along the edges, is presented in a period frame.

Oil on canvas. On the back is a pencil inscription identifying the painter portrayed as "Joseph Moreno espagnol 1662". The face, framed in an oval, is accompanied at the base by a palette, brushes, and canvas, identifying the man's profession. The painting is presented in a contemporary gilded frame.

Oil on canvas. The noblewoman is richly dressed in a dark velvet evening dress with white flounces, with pearl inserts and a red satin cloak draped softly over her shoulders; she is holding a fan. The painting was restored and relined in the first half of the 20th century: There are currently slight losses of color. It is presented in a late 19th - early 20th century frame.

Oil on canvas. In this work, the Holy Family addresses a young friar in a Franciscan habit, likely a reference to the commissioner: the Child's outstretched hands reach out to embrace him, under the protective gaze of Mary and Joseph. Previously restored and relined, the painting is presented in an antique 18th-century frame, regilded.