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Ancient painting

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97 cm 253 cm

91 cm 393 cm

2 cm 9 cm
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Art

Ancient painting

Landscapes, still lifes, portraits, faces, sacred subjects, glimpses and views of Italian and international artists: in this section all the works of Ancient Painting available in our catalog.

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Landscape With Figures And Knights Oil On Canvas 18th Century
ARARPI0117715

Landscape With Figures And Knights Oil On Canvas 18th Century

ARARPI0117715

Landscape With Figures And Knights Oil On Canvas 18th Century

Oil on canvas. In the large scene set outside, the laboratory of a blacksmith stands out on the left side, who is intent to work on horseshoes with his helpers while the owner of the horse attends; in the centre, other knights arrive with their servants who are headed to the craftsman; on the right some popular figures are resting on the roadside. In the background, a large river landscape opens up on the right, while on the left there is the access to the village, dominated by a dilapidated building, with various popular figures intent on their activities: the woman who is about to breastfeed a child, while the other son runs away up the staircase, another woman hanging the clothes on the balcony of the house built on stilts on the rock, while a man climbs the ladder. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts and a hole in the lower band; some patches on the back from an old restoration. It is presented in a thin coeval frame.

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Landscape With Horses Resting
ARARPI0117714

Landscape With Horses Resting

ARARPI0117714

Landscape With Horses Resting

Oil on canvas. The large scene is set at the entrance of a village near a stop for horses: numerous horsemen are standing with their animals, which are looked after by the servants and the peasants who fill the manger with hay; one of the servants, on the right, lets the animals drink in the nearby stream. In the background, the houses of the village arranged along the river, which then flows into the hilly landscape on the right. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts in the lower band. It is presented in a thin coeval frame.

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Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century
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ARARPI0097148

Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century

ARARPI0097148

Allegory Of Love Oil On Canvas Northern Europe 17th 18th Century

Oil on canvas. North-European School. This is a funny allegorical scene of profane love, that wants to prove how everyone, of any social class and every age, can fall into the trap of falling in love. The background of the canvas is occupied by an enormous keepnet, the basket net used in some kinds of fishing, above its opening sits a putto playing the violin; the keepnet is crowded with couples, while a parade of other couples walks in front of them to reach the entrance. Between them, there are couples of old and young people, rich and poor people, nobles, bourgeois and proletarians. Everyone has a content and light expression, they share looks of love or they benevolently look at the happiness of the others. Inside the keepnet, there is even a couple of royals, that correspond, for their features and clothing, to the Elector Palatine of Rhineland, John William of the Palatinate-Neuburg and his second wife Anna Maria Luisa de' Medici. On the back of the painting, there is a label bearing a historical attribution to Jan Frans Douven (1656-1727), the Dutch artist who moved to Düsseldorf in 1682 as the official painter at the Court of the Elector Palatine of Rhineland, mostly representing scenes of the daily life of the prince and his second wife. The label would confirm the scope of the attribution to an artist of the 17th-18th century in Northern Europe. The painting comes from a historical collection in Milan. It shows some traces of restorations and a patch. Frame in style.

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Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century
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ARARPI0100957

Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century

ARARPI0100957

Four Portraits Of Cmmander Kings Tempera On Canvas 18th Century

"Tempera grassa" on canvas. North Italian School. It is believed that the first large pieces were part of the decorative apparatus of a big palace. The technique used, a greasy tempera applied on canvas with a really light preparation and a quick hatching without precise references to the figures, underlines the fast execution, aimed at obtaining pieces for purely decorative purposes in a short time. The four portraits depict the figures of kings, recognizable by different royal attributes (crowns, sceptres, royal garments), but represented as commanders, with armours and/or weapons. The peculiarity is that the characters belong to different eras and places, as if it was an homage to the great royal figures of history. The identification of the characters is uncertain, although it is possible to hypothesize some names: the king with the poor metal crown, but with very pointed cusps, who holds a sword with a hilt in the shape of a bird's head and who is covered with a mantle of rough cloth and a simple armour from which fur elements appear, could be Attila, king of the Huns; the oriental figure, with a turban adorned with precious gemstones, could be an Ottoman sultan, such as Suleiman; the warrior with the Ancient Greek armour, with the helm surmounted by a dragon and a breastplate richly decorated with friezes, could be Alexander the Great; lastly, the young king in a full plate armour and the crowned "hat of arms" helmet, used during the late Middle Ages, refers to a 15th century ruler, who is placed in one of the royal families derived from the Sacred Roman Empire by the necklace with the imperial eagle. The four paintings, still in their original canvas, show signs of restorations and integrations, with some small patches on the back. They come from a historical collection from Bologna. They are presented in frames in style.

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Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500
ARARPI0097144

Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500

ARARPI0097144

Portrait Of Bartolomeo De Olevano Oil On Canvas Second Half '500

Oil on canvas. Lombard School. It is the portrait of a man in armour standing proud, almost in motion, his hand sitting on the hilt of his sword; there is a coat of arms top left, a painted title block bottom right with a long Latin inscription, that identifies the man. He is Bartolomeo III Olevano, who belongs to the powerful noble family of the Olevano, feudal lords of many towns in the Pavia and Lomellina areas (where their castle still exists), who was very involved in the history of Pavia and its countryside until the 18th century. Bartolomeo III, born in 1512, had dedicated himself to the art of war for 40 years, carrying out numerous and highly honoured deeds, and was prefect of Mortara and Novara during the domination of Charles V, leader of soldiers and ambassador of Philip II. His most important achievements are summarised in the title block: a translation of the text is available. The coat of arms of the family has an olive tree on the left, from which the family took its name. The painting comes from an important historical Lombard family collection.

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Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500
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ARARPI0097145

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500

ARARPI0097145

Portrait Of Eleonora Lampugnani Oil On Canvas Second Half 1500

Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.

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The Sewing School Oil On Canvas 18th 19th Century
ARARPI0099241

The Sewing School Oil On Canvas 18th 19th Century

ARARPI0099241

The Sewing School Oil On Canvas 18th 19th Century

Oil on canvas. Emilian school. The large painting comes from the mixture of a piece by Guido Reni (1575-1642), "Virgin Mary at the sewing school", now lost, but known for studio copies and engravings, and another version, left unfinished by Reni himself and then completed by Gianandrea Sirani (1610-1670), and is now presented in the Hermitage Museum in Petersburg. The art historian Massimo Pulini has written about this second version and the finishing work by Sirani, in the article "Gianandrea Sirani painter of recitatives and finisher of unfinished pieces by Reni". The piece presented here refers to the version of Sirani in the composition that takes up the whole scene with female figures participating in the school, to which the little dog is added, however moved from left to right, while the presence of the girl accompanied by her mother on the right refers to the version of Reni. Moreover, an absolutely new element appears in this piece, which makes this canvas an additional version: the presence of a landscape opening in the background in the centre, framed between the two heavy curtains. The piece has been restored and relined. It is presented in an 18th century frame, regilded and adapted.

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Saint Nazario and Celso Oil On Canvas 17th Century
ARARPI0083844

Saint Nazario and Celso Oil On Canvas 17th Century

ARARPI0083844

Saint Nazario and Celso Oil On Canvas 17th Century

Oil on canvas. Nazario and Celso were two Christian martyrs, who died in Milan in 304 a.C., veneered both by the Catholic and the Orthodox Church, who travelled through Italy as evangelisers, and were persecuted by Romans. According to the tradition, the two young men were condemned to die and put on a ship that was supposed to take them offshore, where they would have been thrown overboard. The legend narrates that, once they had been thrown overboard, they started walking on water. There was a storm which terrorised the sailors, who asked Nazario for help. The waters got calm immediately. In the end, the ship landed in Genua, where Nazario and Celso continued their evangelising work, in all the Liguria region and pushing even to Milan, where they were arrested again and sentenced to death a second time. The painting is in its first canvas and has never been restored, it needs some cleaning up but it is in good condition (micro paint losses). It is presented in a coeval frame, with defects.

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Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century
ARTPIT0001596

Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century

Jesus In Front Of Caiaphas

ARTPIT0001596

Scope Of Gerrit Van Honthorst Oil On Canvas 17th Century

Jesus In Front Of Caiaphas

Oil on canvas. The painting reprises the piece of the Dutch master Gerrit Van Honthorst, realized in 1617 and now preserved in the National Gallery in London. Dutch by birth, he came to Rome soon after the death of Caravaggio, from whom he assimilated the style that earned him the nickname "Gherardo delle Notti". While in Rome, the artist was hosted by the Giustiniani family, who commissioned him a piece for his private collection, where it stayed until 1804. Brought to Paris first, in the Bonaparte collection, after more changes of ownership, it finally got to London in 1922. The painting tells the dramatic episode of the encounter between High Priest Caiaphas and Jesus, during his Passion. The whole upper part is occupied by the dark: the emptiness, the void, they focus the attention on the two protagonists and on the tragedy that is happening. The scene is strongly static, almost frozen in a specific moment, the accusatory act of the Priest towards Christ, to highlight the intensity of the inner drama, profoundly painful. In the scenem Caiaphas is on the left, sitting at the table on which the book of Jewish Law is sitting, and holds his finger up in an accusatory tone; Jesus is on the right, standing with his hands tied, in a humble attitude. There is a candle in the middle, the only source of light, that connects the face of Caiaphas and Jesus', that meet in a game of glances along a diagonal line, and of which the artificial light undelines mercilessly the expressive contrast, the priest's grotesque and angry, while Christ's is bright and composed. On the background, behind the two protagonists, there are figures of High Priests. They are just shadows in the dark who are waiting on the judgement and their faces are shrouded in the darkness that increases the tension. The mark of Caravaggio's influence is easy to spot in the contrast between lights and dark and the intensity of their gazes. The canvas here proposed, half the size of the original but faithful in the stylistic and interpretive forms, was probably commissioned in a smaller size by someone who appreciated the original in Palazzo Giustiniani. Restored and recanvased in 19th century. There are some names written on the back, signs of ownership. Frame in style.

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Attributed to Monsù Bernardo Oil on Canvas Northern Europe 17th Centur
ARARPI0057208

Attributed to Monsù Bernardo Oil on Canvas Northern Europe 17th Centur

Male Figure with Jug

ARARPI0057208

Attributed to Monsù Bernardo Oil on Canvas Northern Europe 17th Centur

Male Figure with Jug

Oil on canvas. Portrait of a man who is pouring a glass of wine from a jug; he is wearing a fleece waist coat that reveals his pastoral origins already declared by his dirty hands. The same subject and dimentions, but different colors, charecterize another painting that had been sold in 2014 at a public auction and entitled "Allegory of the five sences" suggesting a possible allegoric meaning. That painting had been attributed to Monsù Bernardo, nickname of the danish aristist who was pupil of Rembrant in Amsterdam; after 1651 he moved and worked in Italy where dedicated himself comic and popular genere compositions, comic, giving particular attention to poors' world and painting them in a realistic way close to Caravaggio's paintings and ispired by the Bamboccianti School, without ignore scral painting. He was known for his allegories as Man Ages, Five Secnces and Four Elements. Even the painting in question can be attributed to such artist: even if it is of inferior quality than the one described, the particulars' performace such as the hands or the face's features, it shows an intence interpretative quality. Restored and displayed in a coeval frame.

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