Antique Painting The Birth of the Virgin Mary Copy from S. Vouet '600 - Copy from Simon Vouet

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.

Oil on panel. Venetian school, mid-16th century. The crucified Christ at the center of the scene is surrounded by four saints identified by their iconographic symbols: on the left, Saint Francis and Saint Jerome; on the right, Saint Sebastian and Saint Roch. In the background is a view of a city, likely Rome, indicating the connection with the Church as an institution. A paper label with a number is on the back (from a 19th-century private collection). The painting is presented in a frame.

Oil painting on canvas. Neapolitan school of the 17th century. A composition of variegated flowers, in light shades, is placed in a vase, black like the background, on a marble base, of which only the base can be distinguished, because it is covered with a fabric that is also black, of which only the golden trimmings stand out willing to create a game of curves; Two birds rest on both sides of the top, a large pigeon on the left holding a twig stolen from the composition in its beak, and a red-headed woodpecker on the right. Along the left margin a landscape opens up, with a tall curved tree under a dark sky, and a city in the background. Restored and relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Central Italian school of the 17th century. The unusual and particular representation presents on the left the three figures of the Holy Family, with Jesus already a child, sitting at the table and blessing the simple meal they are about to consume (consisting of fruit and bread); the scene, a subject depicted rather rarely and generally with a more sacred character due to the presence of angels serving food to the family, here instead has the flavor of very normal and simple domestic intimacy. Instead, everything around the Holy Family stands out majestically, the glimpse of a Renaissance city, with tall buildings with loggias and colonnades, presented according to a beautiful perspective effect which leads, at the bottom on the right, to the entrance walls of a richly turreted city, probably Jerusalem. Restored and relined, the painting is presented in a late 19th century frame.

Oil on canvas. Emilian School, second half of the 17th century. Rose of Lima, a Peruvian nun (and currently the patron saint of Peru) of the Third Dominican Order, who lived between the 17th and 18th centuries, is depicted according to her traditional iconography, dressed in the Dominican habit, while in prayer welcoming the mystical vision of the Baby Jesus, who, according to tradition, makes her his bride by offering her a crown of roses; here the roses are placed on the stone in front of the girl. On the back of the work is a cartouche identifying the previous owners as the Bezzo Guazzone family, residents of the Salabue Castle in Ponzone Monferrato (Alessandria). The cartouche records the painting's entrustment for participation in an exhibition until October 4, 1926. The painting has previously been relined. It is presented in a contemporary 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).

Oil on canvas. Venetian school, mid-18th century. The work reflects the pictorial style of Marco Ricci (1676-1730), who specialized in large landscapes, often for scenographic purposes. The work may be attributed to one of his students. The broad landscape, framed by two nearly symmetrical groups of trees, features a long mountain range on the left and a wide river on the right flowing from a lake into the countryside. In the foreground, a washerwoman is intent on her work while two horsemen pass by on the path. The painting was restored and relined in the mid-20th century; it currently has paint loss and stains. It is presented in an early 20th-century frame.

Oil on panel. Tuscan-Emilian school, late 15th-early 16th century. The Virgin Mary is depicted seated on a throne, holding the Child in her arms and flanked by two angels; the figures are placed under a canopy, emphasizing their regal status. A monogram is on the back, likely identifying the artist. The panel shows some paint loss and damage to the wood. It is presented in a late 19th-century frame.

Etchings. The names of the engraver and painter are at the bottom. The series, based on drawings by Giovanni Battista Piazzetta (1682-1754), included fifteen prints and was titled "The Twelve Apostles or Work painted by Giambattista Piazzetta (1683-1754) engraved by Marco Pitteri Veneto with Privilege of the Most Excellent Senate". The eleven apostles (excluding the traitor Judas) were joined by the face of Mary, the image of the Father with the Holy Spirit, and Saint Paul. This series lacks the representation of Christ. The prints have stains and water stains. They are presented in 18th-century lacquered wood frames with contemporary glass.

Oil on walnut panel. The painting follows early 16th-century Tuscan models (for example, the pictorial style of Domenico Puligo), but is a slightly later production and by a weaker hand, typical of "peripheral"production. The absolutely traditional subject features the Madonna breastfeeding the Baby Jesus, framed by a curtain; the infant, sucking at his mother's breast, looks toward the viewer, while the mother gazes tenderly at her son. The monogram CP appears on the back of the panel, likely indicating the artist. The panel has several small paint losses.

Landscape with Figures

Oil painting on canvas. The large composition proposes a landscape with a large tree in the centre. to surmount with its sparse branches the countryside below, crossed by a stream and animated by various figures of commoners intent on activity or at rest; at the top right stands a fortress, which dominates the valley. Already attributed to Peruzzini from the Marches, the painting can certainly be traced back to his circle, due to the rapid and poorly aggregated pictorial strokes. Antonio Francesco specialized in landscape painting, undergoing the influence of Salvator Rosa and landscape painters such as Pietro Montanini and Pandolfo Reschi, and further influences also came to him from Nordic painters active in Italy, above all from Pieter Mulier known as il Tempesta. In his first works the originality of his painting can already be distinguished given a rapid drafting and an intense and brilliant chromatic timbre. The long artistic bond between Antonio Francesco Peruzzini and Alessandro Magnasco began in the early 1990s, following their meeting in Milan, where Peruzzini had settled; from this period onwards his painting seems to fall apart, through forms that become more dynamic and light, almost fantastic, to finally arrive at a style marked by an ever greater disintegration of the forms of nature and their movement. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Northern Italian school of the 17th century. In this Holy Family, the central figure is Mary: sitting in the center of the scene, she turns her face to her left toward Joseph, listening intently and concentratedly to what her companion is reading to her from a book; meanwhile, the woman's arms are lovingly covering the little Jesus with a cloth, who is sleeping peacefully in the cradle to the right of his mother. The Child's face is also illuminated and radiates its light toward his Mother. In the background is an Italian landscape. The figures appear harmonious and balanced in the movements of their bodies and the whole scene emanates a tranquility and domestic serenity, very earthly. The painting was relined at the beginning of the 20th century. Traces of previous tears and slight losses of color are visible. It is presented in a golden frame from the early 20th century (loss of gilding).