Antique Painting View from the Harbour Oil on Canvas XVIII Century

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. 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 painting on canvas. The painting offers a half-length portrait of a young man who, in deshabillé, is lighting his pipe by drawing fire with a stick from the candle placed in front of him, on the table where a sword is also placed: perhaps it is a young knight in a moment of rest. It is precisely the candle, the only source of light in the scene, which suggests that the artist looked to the production of Georges De La Tour (1593 -1652), the French painter of the Caravaggio style who established himself for his "nocturnal" scenes, characterized by figures, usually low-ranking people rather than historical models or high-ranking figures, illuminated by the light of a candle, to create a special atmosphere of intimacy. The painting, restored and relined, is presented in a period 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. 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.

Oil on canvas. The painting is inspired by Titian's famous "Homage to Venus" which was widely copied and reinterpreted during the 17th century. In the version presented here, there is no reference to Venus, but rather appears to be a celebration of Spring: a large group of Cupids invades the lush countryside, weaving wreaths and filling baskets and basins, petting animals (goats, sheep, dogs), and, in the background, fishing in the river. The painting has been restored and relined in the past. It is presented in a specially adapted 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.

Church in Ruins 1782

Watercolor and ink on paper. At the bottom left is the inscription "IF Gout Dell. 1782"; in the center is the number 4, indicating that it belongs to a series of subjects. The small glimpse frames the ruins of a Gothic-style church, in the middle of an equally abandoned village. Presented in a frame.

Oil on canvas. 18th-century French school. The elegant lady poses draped in a green velvet cape trimmed with fur, gold trimmings, and lace; languidly leaning with one arm on the marble balustrade behind her, she holds a small dog on her lap, which also appears to be posing. Restored and relined in the late 19th century, the painting currently shows some slight paint loss. It is presented in a late 19th-century gilded frame, which also has some losses and gilding.

Oil painting on canvas. Central Italian school of the late 1600s-early 18th century. The composition proposes a female bust in the centre, portrayed as if it were a sculptural effigy, for the monochrome that evokes marble; it is surrounded by a garland of colorful flowers, which stretch from twisted branches above, while a landscape fades in the background. This type of portrait came from a solution born in the Flemish environment and spread in Italy by Daniel Seghers. Restored and relined, the painting has slight drops of colour. It is presented in an antique frame.

Oil on panel. Flemish School, 18th century. In a country landscape with a path winding through twisted trees, a group of travelers—men, women, and children—and the pack mule, also kneeling on the ground, are resting seated at the edge of the path. The work is presented in an early 20th-century frame.

Trinity

Oil on canvas. The original, painted in 1592 and exhibited in the Risaliti Chapel in Santa Croce, Florence, was enormously successful, so much so that numerous copies were produced, including later and non-autograph copies. This beautifully crafted eighteenth-century version is smaller in size, perhaps intended for personal devotion in a private chapel. The work depicts the Trinity in glory, with the Father supporting the dead body of the Son, above whose head the Holy Spirit hovers; surrounded by angels and archangels, and at Jesus' feet, still resting on the earth, are depicted the instruments of torture and death on the cross. The painting has been restored and relined in the past. The work is presented in a beautiful contemporary frame, with rich floral decorations (the decoration at the top left is missing).