Swiza Table Clock Model Athena Brass Switzerlan 1960s

Oil painting on canvas. North European school of the 19th century. The romantic taste pervades this nocturnal landscape, illuminated by the light of the full moon, barely veiled by scattered thin clouds; on the country path, which runs alongside the torrential course of a river, two figures of wayfarers can be glimpsed, a child holding a woman's hand. The painting is presented in a gilded frame from the end of the 19th century.

Portrait of Magdalena de Vos, 1970

Oil painting on canvas. Signed with the addition of the wording "Falsario" and dated 1970 in the lower left corner. It is an excellent copy of the painting by the Flemish painter Corneliis de Vos (1584 -1651), portraying the little daughter Magdalena and made around 1623-24. It is one of the reproductions of works by important authors of the past, made by Mariolino da Caravaggio, who called himself "Falsario" for intellectual honesty. The painting is presented in a styled frame.

Lake Como, S. Martino di Bellagio

Oil painting on canvas. Signed lower right. On the back the title. View of Lake Como, seen from the Lecco side of the lake, in correspondence with the small church of San Martino di Lierna, a small Romanesque church located along the medieval road that descends from the village of Casate to the village of Grumo. It is the work of the Milanese artist Fortunato Zangli, who distinguished himself as a landscape painter. The work is presented in a frame lacking external strips.

The Fraticelli's Lunch

Oil on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing a simple meal, placed on a white cloth. The scene refers to the sphere of Alessandro Magnasco known as Lissandrino (1667 -1749), a Genoese artist considered one of the most original painters of the Italian eighteenth century, who distinguished himself in popular genre painting and, in particular, in the production of scenes from the life of Capuchin or Camaldolese friars engaged in the most varied activities, from studying in the library to confession, from the work of sharpeners or carpenters in the convent workshops to the simple recollection around the fire: in these works you can appreciate all the expressive freedom of the artist\'s brush. moves on the canvas with quick touches to describe flames, fireplaces, cats, books, dogs, poor bowls, lenses, books, poor patched clothes, chairs and stools, in short, a whole daily world of gestures and things built with a very special and unmistakable technique, made of a mixture of lively color and almost all played on monochrome, on which a few, skilful strokes of light descend to give shape and consis tence to the bony figures of the monks. The author of the work proposed here was certainly trained in the Magnasco area and was inspired by his style, although it is more sedate, without the flashes and interpretative freedom, often irreverent or ironic, towards the figures of the friars; he was able to take up the play of chiaroscuro, lights and shadows, which flow from a monochrome in the shades of browns, still creating a work of excellent pictorial quality. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Jacob Receives Joseph's Bloody Tunic

Oil painting on canvas. Venetian school of the eighteenth century. The painting depicts the biblical episode taken from the book of Genesis, in which Joseph\'s brothers, jealous of their father Jacob\'s predilection for him, sell him a slave to merchants who go to Egypt and declare to their father that he is dead: they wear on trial the tunic soiled with the blood of an animal, that special tunic that Jacob had made specially weave for his beloved son. In this representation, in which the vivid colors underline the drama, the intense movement of the old patriarch stands out, who, disfigured in pain in the face, tries to keep that stained fabric away from himself, moving his whole body to the left and extending his arm. not to allow her to approach him, almost an attempt to deny the evidence. On the right, the group of three brothers, close together in an accomplice attitude, who tell and point to each other the paternal drama. Restored and relined, the painting is presented in a re-adapted antique frame.

Rest on the Flight into Egypt

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

St. Francis in Ecstasy comforted by an Angel

Oil painting on canvas. Italian school of the seventeenth century. The scene is clearly divided into two parts, occupied by the two very different figures in colors and movement: on the left side appears the saint, suffering and suffering, leaning against the trunk of a tree and embracing the Cross, with whom he comes into very physical contact. tightly covering the head of Christ with his head, to express the concept of the Imitatio Christi; dark is the habit, dark is the tree trunk, his figure dull, signs of passion and suffering. Above right an angel, who plays the violin, wrapped in colored clothes and surrounded by light, graceful that almost seems to dance in the air. This iconography of the saint refers to an episode narrated in the Fioretti by San Bonaventura: the saint, very weak from abstinence and the inner battles he fought, prayed to God to grant him a part of that eternal bliss he longed for; then an angel appeared to him who, playing the violin, comforted his soul and alleviated all bodily pain. The painting, retaurato and relined, is in good condition.

Oil painting on canvas. Nineteenth century. Dignified and severe lady, in a lightened black dress with a white collar. In a late 19th century frame.

Oil on canvas. Center-Italian School. The Saitn from Assisi is represented while contemplating the Crucifix as he was traditionally portraited, itinerant in the Umbrian countryside. The painting had already been restored but need to be clean. Displayed in an ancient frame.

Painting under glass. Flemish School. Scene set inside a tavern: 2 costumers are drinking wine with company in front of the fireplace and get surprised by the bursting in of a threatening woman that brandishes a wineskin as weapon agains one of them who's scared. Displayed in a late 1880 burl frame that nees some restoration works.

Pastoral Scenes

Oil on panel. Decorated with pastoral scenes on a monochromatic light green background, with couples, children, farmers depicted during moments of rest and conversation, in the guise of the models from the 18th century. Probably wooden panels from the doors of furniture, the paintings have been recently mounted on wooden frames. They present some paint losses and spots, especially where the background is.

Oil on canvas. Center-Italin School. Mountainous landscape, blended on the left and framed by the leafy branches of a big tree in the foreground which occupies the entire right upper quadrant of the painting and that acts as background for a tragic scene on the path fown in the middle where some figure are probably telling about an ambush in the woods. Alredy restored. Displayed in a late-19th century frame.