Antique Painting Copy from Ludovico Cardi Trinity Oil on Canvas '700 - Trinity

Oil on canvas. Venetian School, 18th century. In a countryside landscape with rolling hills, a woman milks her cow by the stream; next to her, another woman with a small child on her shoulder waits, jug in hand, waiting for her own supply. The painting shows signs of previous restoration and relining. It currently requires further restoration to remove the colors. It is presented in a period frame.

Oil on panel. The painting echoes the composition of Titian's masterpiece (dated 1510, currently in the Louvre), but places it in a completely different landscape and develops it on the sides, with the introduction of a goat on the right and a faun playing a flute on the left. Furthermore, the four figures taken from Titian are developed inverted, probably because the artist of our painting was inspired by an engraving. The central scene shows two young men sitting on a meadow making music, flanked by a young woman with her back turned, while a second is drawing water from a marble basin. The two women are both naked, barely covered by slipping cloaks, while the two men, speaking to each other, are dressed in period costumes. The subject is intended to be an allegory of poetry and music, with the two women of ideal beauty, who are like two unreal apparitions generated by the imagination and inspiration of the two young men. The painting presented here shows traces of previous restorations. Currently, there are some paint losses and damage to the panel.

Period of Carlo Cignani

Oil on canvas. The painting closely replicates the one created by Carlo Cignani in 1702/1704, and is therefore the work of one of his students or at least from his workshop or circle. The scene depicts the infant Jupiter being suckled by the goat Amalthea, surrounded by nymphs and fauns intent on making music. According to myth, his mother Rhea, to save the child from his father Saturn, who devoured his children, hid him on the island of Crete, where he was raised by forest nymphs. The painting has undergone restoration and relining. It is presented in an antique gilded wooden frame.

Oil on canvas. Venetian School, 18th century. A wide Nordic landscape, with mountain peaks in the background and a river flowing through the countryside, overlooked by houses and ruins; several figures of wayfarers walk along the path among the rocks. Already restored and relined in the early 1900s, the painting requires further cleaning. Framed.

Oil on panel. This amateurish work is reminiscent of Guido Reni, who created numerous portraits of the legendary fortune teller, traditionally wearing a turban. The work is presented in a beautiful contemporary gilded wooden frame.

Oil on canvas. Emilian School, 18th century. The large canvas depicts the Madonna in glory, seated on clouds in the sky, with Baby Jesus in her arms; angels and winged cherubs flutter around her. The entire scene is characterized by light and movement, and an atmosphere of lightness and serenity; the little cherubs in particular are depicted in joyful and playful poses, contrasting with the serious, yet smiling, attitudes of the two angels and of Mary and Jesus, engaged in an important symbolic gesture. In fact, the angel on the right and the two cherubs below are holding "scapulars"—two rectangular pieces of fabric held together by a string—and are handing them to Mary. These objects are a devotional symbol linked to the Madonna del Carmine (or Madonna of Mount Carmel), one of the oldest and most widespread Marian devotions, linked to the Order of Carmelites founded on Mount Carmel in the Holy Land in the 12th century. A symbol of protection and consecration, wearing the scapular—a gesture performed by various religious orders and lay people alike—is equivalent to a commitment to live one's faith united with Mary, imitating her virtues. The painting thus celebrates Mary's commitment to take under her protection those who trust in her. Originally from a major Bolognese collection, the canvas has been restored and relined in the past.

Oil on canvas. 18th-century Venetian school. The traditional Holy Family features Mary occupying the entire central part of the scene, her gaze, illuminated by a smile, directed toward the Baby Jesus lying on her lap, drawing the viewer's gaze to him as well. The good Joseph, as always, is thoughtfully placed in the background, watching over the two sacred figures entrusted to him. On the back of the canvas is an inventory label from the early 1900s. The work is presented in an antique gilded frame.

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.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (a pomegranate and black grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. Dutch School, 18th century. In this dramatic scene, three sailing ships are at the mercy of a stormy sea; two of them fly the Dutch flag, while the third, smaller one, almost a dinghy, flies another flag. The gray, stormy sky and sea create a uniformly dark background, with a sliver of light on the right, through a rift in the clouds. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Oil on canvas. Central Italian School, 18th century. An amphora vase contains a composition of variegated flowers, with some fruit (figs and grapes) on the surface. A classic decorative composition, often paired with other paintings. The work has been restored and relined in the past. It is presented in a period frame.

Oil on canvas. The scene is entirely filled with figures, presented half-length in the foreground: the three Magi, who occupy the entire right-hand side, present their gifts to the baby Jesus in Mary's arms, on the left, while the figure of Joseph appears in the background, like a shadow watching over and assisting the family. The painting shows traces of previous restorations. It is presented in a period frame from the early 1900s.