Antique Painting The Age of Iron Disciple of Pietro da Cortona '600 - Disciple of Pietro da Cortona

Oil on canvas. 17th-century Italian school. Mary is depicted here in an attitude of prayer and contemplation: bathed in light, she holds the prayer book in one hand, but her face is turned upward, in ecstasy. The painting has previously been restored and relined.

Oil on canvas. 17th-century Italian school. A traditional subject of popular devotion, Saint Joseph, foster father of the Baby Jesus, is depicted in a pose of great tenderness, holding the infant Jesus in his arms, who offers him a lily, the saint's iconographic symbol of purity. Previously restored and relined, the painting is presented in a period frame.

Oil on canvas. Lombard-Venetian School, late 17th-early 18th century. A farmer is depicted in the foreground, half-length, carrying a hoe on his shoulder. The figure is characterized by meticulous detail, from the wrinkles on the face to the dirt on the hands, from the tattered clothes to the roughness of the hoe. The painting's style recalls the work of Pietro Bellotti, who introduced figures of a similar nature into his portraiture. The painting has been restored and relined in the past. Framed in period style.

Oil on canvas. Bolognese school of the late 17th century. In the foreground, occupying the entire left part of the scene, lies the sleeping Baby Jesus, reclining backward in a pose of complete abandonment to sleep, a serene smile on his face; on the right side, diagonally delimited by the raised cloth, two figures, presumably two shepherds, gaze at the child with a gaze of deep and serious adoration and are making the gesture of covering him, a gesture that indicates tenderness but symbolically prefigures the sacrifice of Christ (the deposition of his body after the Crucifixion). The supine position of the Child, adored by Mary or by shepherds, was introduced by Guido Reni, who created several works with this subject, later widely taken up by his followers and by the 17th-century Bolognese school. As in Guido Reni's works, in this painting too, the light emanates directly from the Baby Jesus, illuminating the devout faces of those who adore him. Previously relined, the painting shows traces of extensive restoration. It is presented in a period frame.

Oil on canvas. Northern Italian school, 17th century. The large scene is animated by numerous intertwining figures: in the center, illuminated by the beam of light coming from above, Mary with the baby Jesus in her arms, watched over by St. Joseph on the right; on the left, the three wise men, bearing their gifts in rich caskets, and their entire entourage, along with the angels watching from above. A curious detail is the two little angels at the bottom, preparing the manger to welcome the baby Jesus. The painting has been restored and relined in the past. Frame in period style.

Oil on canvas. The scene depicts a plea for clemency from a king: a man begs the king to pardon the young man who is about to be beheaded by two servants; curiously, a crowned head lies at the king's feet. The scene takes place in a camp near a city, with several soldiers attending, while the two prisoners are in civilian clothes, as are the servants brandishing swords over the prisoner. The scene is not clearly linked to a specific biblical historical episode, but it certainly aims to convey the king's mercy, contrasted with severe justice. The painting has been restored and relined in the past. It is presented in an early 20th-century frame, regilded.

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.

Copy from Jacopo Palma il Vecchio

Oil on canvas. The original painting from which this painting is based, faithful even to its size, belonging to a private collection, was exhibited in 2022 at the exhibition organized by the Museum of Santa Caterina in Treviso. The work depicts the Madonna and Child in the center, with two saints on the right, almost isolated in a spiritual discussion. The rightmost figure is Saint Catherine, recognizable by her cogwheel symbol; on the left is Saint Joseph, depicted with a youthful appearance, likely because he uses the features of the patron. The painting has been restored in the past. It is presented in a gilded frame, in period style.

Oil on canvas. Central Italian school, 17th century. The painting depicts the Virgin with the Child Jesus seated on her lap, both wearing crowns. The Child is depicted blessing the viewer, holding a flower in his other hand. The iconography of the Virgin and Child, both crowned, became widespread only from the 16th century onwards, although the theme of the Virgin enthroned was already widespread earlier, as was her Coronation. The painting has been restored and relined in the past. It is presented in an 18th-century wooden 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.

Copy from Simon Vouet

Oil on canvas. This is a beautiful copy of the famous painting by Simon Vouet (1590-1649) created between 1618 and 1620, and located in a chapel of the church of San Francesco a Ripa in Rome. Created by Vouet during his stay in Rome, the work shows a significant Caravaggesque influence, both in its chromatic and lighting choices, as well as in the poses of the figures. These characteristics are faithfully found in this copy. The palette is rich in colors (blue, orange, and obviously red) that materialize in draperies painted with great brushwork, but there is also an abundance of white cloths, which are everywhere to provide light and create a visual impact. The details are rich: the elaborate hairstyle of the figure seen from behind and his bare foot in the foreground (but not dirty, like those of Merisi); the white vase on the floor contrasts with the large copper basin; The lace of the shirt and turban of the woman on the right, as well as her left hand (a typical Caravaggio pose) extended openly toward the viewer, give the scene a sense of depth. The painting was restored and relined in the late 19th century, and mounted on a stretcher from that period. It is presented in a late 19th-century frame.

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing performed by Jesus: while he goes with his disciples, he meets on his way a sick man, probably with leprosy, a disease that involved isolation and banishment from the city; the man invokes Christ who performs the miracle and heals him. The painting places the event on the left edge of the scene, in the foreground, where the figures dressed according to the typical style of the times of Christ stand out for their bright colours; moreover, the landscape that fills the rest of the scene is decidedly Nordic, with a river full of water flowing in a countryside full of vegetation, and a city in the background under mountain peaks. The pictorial description of the vegetation is meticulous and precise, rich and well defined in the details: the broken trunk in the foreground, the fronds of the large tree behind the characters, the birds flying high in the sky, the small flowers on the shore, the nuances of the The water in which plants and clouds are reflected are painted with a pictorial refinement typical of Flemish painting, similar in style to that of the great Antwerp artist. The painting is presented in a repurposed antique frame.