Antique Painting The Crossing of the Red Sea Oil on Canvas '600

Oil on canvas. 17th-century Emilian school. Mary and Jesus are depicted here in a very humanly intimate pose, in an interplay of embraces and glances, in which even Jesus's face, gazing at the viewer, actually conveys the joy of a child enjoying his mother's embrace, rather than Christ's projection toward his destiny. Only the small apple the child holds in one hand, almost hidden, recalls his role as redeemer. The painting has been restored in the past. It is presented in a period 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. Northern European School. A young woman wishes to signal her passion, or perhaps her commitment, to the world of music by having her portrait painted with a sheet of music in her hand. Restored and relined, the painting is presented in a period gilded frame.

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.

Figures with Autumnal Still Life

Oil painting on canvas. The H.Sanders signature is present on the barrel at the bottom left. The scene, set outdoors in a street of a Flemish city, with the canal in the background on the left, sees in the foreground a vegetable seller behind her stall, which is set up with a varied composition of winter vegetables, a composed still life from cauliflowers, cabbage, carrots, corn on the cob; next to the woman, a passer-by carrying a harpoon on his shoulder is offering her some fish, evidently the fruit of his catch that he wants to sell. The setting brings to mind Amsterdam, the city where the Dutch painter Hercules (or Herkules) Sanders was born and lived, who established himself mainly as a portraitist, but of whom an interior genre scene is known, currently at the Detroit Institute of Arts, dated 1647 and entitled "Woman cleaning fish", whose female figure closely resembles the seller of the work presented here. Restored and relined, the painting is presented in a period 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 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 on canvas, mounted on a reinforced canvas. 17th-century Northern Italian school. The scene is taken from the biblical book of Numbers: because the Israelites, fleeing Egypt and wandering through the desert, complained to God about the lack of food and water, God sent poisonous snakes to exterminate them, but also ordered Moses to raise a bronze serpent on a pole, so that anyone bitten by it would be healed. Symbolically, this gesture, turning one's gaze toward the serpent, implied an act of conversion and faith in God. In this representation, the pole is more specifically shaped like a cross, anticipating the salvation that will come to humanity through the Crucified and Risen Christ, who frees humanity from the sin symbolized by the serpent. Moses is at the center of the scene, pointing to the pole with the serpent, flanked by his brother Aaron; around the men and women of Israel, some overwhelmed by serpents, others already kneeling as supplicants asking for God's forgiveness. The work is presented in a frame composed of late 19th-century elements, adapted.