Pair of Wall Lights, Iron and Shear Plate Italy 18th Cenutry

Oil on canvas. From a private collection in which they were combined as a pendant, the two compositions are actually different in manufacturing and technique, as well as in the size of the canvases. The slightly larger canvas (71 x 91 cm), in oil, features two different wicker baskets filled with white and red grapes, surrounded by other fruit (pears and peaches) and with a curious squirrel sniffing the air; the dark background is empty. The second canvas (64 x 88 cm) is made with the lean oil technique, which makes it very close for pictorial effect to a tempera on canvas; the composition is made up of variegated flowers and fruit (watermelon, grapes, peaches), and is placed in an external environment, albeit not very defined (the clouds on the left). Both canvases need cleaning; the first shows traces of previous restoration and relining (patch on the back), while the second, in her very worn first canvas, has very widespread small holes and drops of color. Both works are presented in white lacquered frames, albeit different in shape.

Oil painting on canvas. Northern European school of the eighteenth century. A plate on the frame attributes the work to Meindert Hobbema (1638 -1709) one of the greatest Dutch landscape painters. While not confirming the attribution, we appreciate the good pictorial quality of the tree-lined landscape, enlivened by figurines and with a charming cottage that stands out in the centre, where the play of light and shadow created by the sun between the branches of the trees stands out. Restored and relined, the painting is presented in a mid-1900s frame.

Oil painting on canvas. Bolognese school of the XVII -XVIII century. Mary and the Child Jesus, who is in the arms of his standing mother, with his arms already extended to recall the Cross, are placed against a naturalistic background, which fades into a rosy sky in the distance, while on the right stands the shaft of a column. The faces of the two figures show a strong resemblance in the somatic features, in particular the eyes stand out, highly expressive in their seriousness. The pictorial methods look to the painting of Elisabetta Sirani (1638 -1665), who influenced Bolognese painting by introducing expressive and emotional modalities very early in the gazes of her characters. The work, restored and relined, is presented in an antique frame.

Oil painting on canvas. It is certainly a king due to the presence of the crown and scepter at the bottom right; the man is clad in armor and rests his left hand on the helmet, to underline his prestige as a leader. Portrait in old age, as evidenced by the hoary hair, due to the physiognomic traits, the so-called "Habsburg chin" (or Habsburg chin, Habsburg lip, Habsburg lip), a particular hereditary malformation pathology of genetic origin, documented over the centuries , present in many members of the House of Habsburg. The somatic traits would lead back to Leopold I of Habsburg (1640 -1705), Emperor of the Holy Roman Empire, who led numerous war campaigns. The painting, restored and relined, has a slight tear on the red surface. It is presented in a frame from the early 1900s.

Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Gallant Scene and Bucolic Scene

Matching paintings on leather representing a gallant scene and a bucolic scene. Styled frames.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Studies of Nature

Group of 12 etchings on a hardboard notebook. From the catalogue raisonné of Kobell's works, published in 1822 by Baron de Stengel, it is also possible to recover the titles of the individual engravings, which depict figures from popular life. The first one also has the title: "Etudes d'après nature, dessinées et gravées par Ferdinand Kobell,...". (Studies from life, drawn and printed by Ferdinand Kobell), with the Parisian locations mentioned below. The titles of the other figures, in the order of their presentation in our collection, are as follows: Return from the Market, The Beggars, The Messengers, The Stonemason (Sculpture Seller), The Brush Seller, The Vegetable Seller, The Hat Seller, The Junk Dealer (Print Seller), The Peasant at the Market (Sleeping), The Second-hand Clothes Dealer, The Blind Man.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.