'Judgment of Paris' Domenico Lupini attributed to

The model derives from an engraving by Marcantonio Raimondi based on a drawing by Raphael, specially made for the graphic work, deriving from a painting placed in the Stanza della Segnatura (1513-1515). This model was taken up and changed by Hans von Aachen in a canvas dated 1588 and today preserved at the Museum of the Charterhouse of Douai, in turn taken up in an engraving of the following year by Raphael Sadeler, in the Cabinet of Drawings and Prints of the 'Carrara Academy of Bergamo. The canvas in question is derived from this last version, which shows the same changes made with respect to the Raphaelesque original. At the center of the scene, which takes place immersed in a natural landscape, are the three goddesses who competed for the title of the most beautiful: Juno with the peacock, her symbolic animal, Venus accompanied by Cupid and Minerva next to which are the helmet, spear and shield. Paris, from behind, is giving the golden apple that decrees the winner to the goddess of love, under the gaze of Judge Mercury. Two cherubs flit around the protagonists, while in the foreground, always from behind, there is a male figure. A country boarding school is taking place on the back lawn. The work, as evidenced by a small scroll, is attributed to Domenico Lupini, an artist about whom not much is known but for whom it is possible to hypothesize the scope of his activity between Bergamo and Venice. The only two signed works are a "converted Magdalene" and an "Annunciation", but other works have been attributed to him by the scholar Federica Nurchis and placed in the monastery of Santa Chiara in Bergamo. These paintings present a warm and refined chromatism which, together with the elegance of the characters and the compositional modality, suggest a Venetian stay by Lucini, which seems to recall the atmospheres of Tintoretto, Veronese and Palma il Giovane. Presented in a 17th century gilded frame, restored and relined.

Archangel Michael defeats the Devil Oil on Canvas Italy XVII Century

Oil on canvas. The work is a copy of the famous painting by Guido Reni (1575-1642), made between 1635 and 1636 and currently kept inside the Church of Santa Maria della Concezione dei Cappuccini in Rome. The iconography of the work is based on the vision of St. John the Evangelist described in the Apocalypse in which he appeared "... an angel who came down from heaven with the key of the Abyss and a large chain in his hand [... which ...] grabbed the dragon, the ancient serpent - that is, the devil, satan - and chained him ... ". The work, in the strongly Baroque original of great intensity and strength, is here taken up with fidelity and good rendering, although the colors are less brilliant and the dimensions reduced, to the detriment of the great wings of the archangel and the background of the rocky landscape of the underworld. The work, restored and relined, is presented in a frame from the early 1900s.

Martyrdom of St. James the Greater

Oil on the table. Both the external rectangular frame and another internal frame, which inscribes the painting, are carved into the table. The scene proposes the martyrdom of St. James of Zebedee, the apostle called the Major, to distinguish him from the other apostle of the same name, Giacomo di Alfeo, called the Minor. James the Greater was the first martyr apostle, and suffered death by beheading. The painted scene proposes the martyrdom inflicted at the hands of Roman soldiers, but inserted in a contemporary habitat to the painter. It is part of a group of small plates that tell the martyrdom of various saints, probably made for illustrative purposes for the common people.

Martyrdom scene

Oil on the table. Both the external rectangular frame and another internal frame, which inscribes the painting, are carved into the table. The scene proposes the martyrdom of a saint by stoning; although the most famous saint for having been subjected to this condemnation was Stephen (but he was martyred while still young, unlike the martyr proposed here), many were the Christians who suffered this form of martyrdom, because stoning was the punishment contemplated by the Mosaic law for the crimes considered more serious, such as blasphemy. The painted scene proposes characters dressed in the ancient fashion, but is inserted in a contemporary habitat to the painter. It is part of a group of small plates that tell the martyrdom of various saints, probably made for illustrative purposes for the common people.

Holy Martyr

Oil on the table. Both the external rectangular frame and another internal frame, which inscribes the painting, are carved into the table. The scene depicts a Christian saint kneeling praying to God, refusing to participate in the sacrifice to a pagan deity that the priests are making; on the left a man points him to the Roman soldier, accusing him. The scene is a prelude to the martyrdom of man; the costumes of the characters and the pagan altar are in keeping with the historical period of the martyr, but the landscape is that of the artist. It is part of a group of small plates that tell the martyrdom of various saints, probably made for illustrative purposes for the common people.

Martyrdom of St. James the Minor

Oil on the table. Both the external rectangular frame and another internal frame, which inscribes the painting, are carved into the table. The scene proposes the martyrdom of Saint James of Alfeo, the apostle called the Minor, to distinguish him from the other apostle of the same name, Giacomo di Zebedeo, called the Major. According to tradition, James the younger, sentenced to death by stoning, was killed instead with a blow to the head given to him by a washerman. The painted scene proposes the characters dressed in the ancient fashion of their time, but inserted in a contemporary habitat to the painter. It is part of a group of small plates that tell the martyrdom of various saints, probably made for illustrative purposes for the common people.

Sic Transit Gloria Mundi

Oil painting on canvas. French school of the seventeenth century. The scene is set in front of an open arch in a stone structure, which gives access to uninhabited and bare rooms. Two figures, a woman and a putto, are delighting with different instruments: she plays a mandolin and, scattered on the ground, there is a palette of colors, books, jewels, armor and weapons, other musical instruments, and a globe. on which the putto stands, producing soap bubbles; on the ground in the center, a cartouche mentions the saying "Sic transit gloria mundi". This is a famous Latin phrase, which in Italian means "Thus passes the glory of the world", used to emphasize the ephemeral value of the things of life, symbolized by various objects (arts, literature, wealth ...), destined to vanish like soap bubbles. The whole scene therefore has a strong allegorical / symbolic meaning: even the sunset, which can be glimpsed on the left, expresses the same concept, everything in the world is destined to end. The theme of the transience of life, always present in art, had its maximum development in the seventeenth century, closely related to the sense of precariousness that hit the European continent following the Thirty Years' War and the spread of plague epidemics. With allegorical scenes like this, rather than with the Vanitas or Memento mori, or scenes or still lifes with symbolic elements alluding to the theme of the transience of life (the skull, the candle that is consumed, a clock, a broken flower), we wanted precisely to emphasize the ephemeral condition of existence, of man and earthly goods. On the back of the work there is a cartouche that says a probable attribution to Simon Vouet. The painting, restored and relined, is presented in a re-adapted antique frame.

Andy Warhol 1996 exhibition poster

Foldable poster, printed in eight colors, of the exhibition "Vanitas: Skulls and self-portraits 1976-1986", held at the Anthony d'Offay Gallery in London from November 1985 to January 1996. On the front a composition of eight "skulls is presented. by Warhol, symbol of the transience of life; on the back, in black and white, the title of the exhibition, a critical review and the catalog of Andy Warhol's works, on the two themes of skulls and self-portraits. Dimensions of the open leaflet: 83, 8 X 53.2 cm.

Adriano Bogoni

Vase with Flowers 1952

Oil on hardboard. Signed lower right. At the back, further signature with date and dedication. Born in Monteforte d'Alpone (Verona) where he trained artistically, attending the Cignaroli academy and then the studio of Angelo dall'Oca Bianca, Adriano Bogoni later moved to Milan (where he remained until his death), where he was active since the end of the First World War. His initial painting was more analytical and, particularly in portraits, the artist aimed to render the strong psychological and introspective charge of the portrayed. Towards the fifties he devoted himself to still lifes and landscapes, fascinated above all by the Ligurian sea, transferring his passion for the analysis of emotions and feelings to these new subjects and recreating them through the colors and shades of nature. Bogoni won several national and international awards; his works can be found in private collections and in the Modern Art Galleries of Rome, Milan, Berlin, Munich, Barcelona and New York. The painting is presented in a contemporary frame.

Louis Philippe corner cabinet in walnut

XIX Century - 1800

Louis Philippe walnut corner cabinet with curved paneled door and 4 internal shelves.

Oscar Ricciardi

S. Lucia Flower Market

Oil on the table. Signed lower right. On the back the title in pencil. It is a lively and intense glimpse of the Pallonetto di S. Lucia, the well-known Neapolitan terraced alley which, together with those of San Liborio and Santa Chiara, constitutes the three Pallonetti of Naples; striking and peculiar the contrasts of lights and colors Oscar Ricciardi was a prolific Neapolitan painter considered by some to be the head of Neapolitan Impressionism; he painted as main subjects marine, beaches, glimpses, landscapes and Neapolitan customs and traditions of his city. In his works the intense chromatism, the study from life, the abandonment of drawing and the limpid and clear light that pervades the scenes, reveal the knowledge of Impressionism, due to the presence in Naples of Giuseppe De Nittis. The painting is presented in a gilded frame from the early 1900s.

Emilio Vacchetti

Vase of Flowers 1956

Oil on plywood. Signed and dated lower left. The Piedmontese painter Emilio Vacchetti devoted himself mainly to flower arrangements in vases and landscapes, glimpses of the Piedmontese mountains. The work in warm and shaded colors is presented in a frame