Moses And The Daughters Of Jethro Tempera On Paper Late 700 Early 800

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent the Israeli population became too numerous and could rebel against slavery), he was found by a handmaid of Pharaoh's daughter, who decided to adopt him and saved him. The scene, set along the river, is entirely occupied by the female figures of the princely retinue, crowded together and projected towards the bottom right corner where the basket with the newborn is placed. All eyes are also turned towards the child, in the direction indicated by the outstretched arm of the woman in the foreground on the right. The roundness of the female forms stands out, especially of the three figures in the foreground, where plays of light and shadow highlight the complexions that emerge from the clothes. Restored and relined, the painting is presented in a frame.

Cherubs' Game

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a pilgrim. 18th century.

Oil painting on canvas. Northern European school of the 19th century. Family portrait of three girls, whose marked resemblance in facial features, smile and witty and mischievous gaze, is underlined by the almost identical clothes they wear, whose bright colors enliven the scene and on which the laces of the necklines stand out, exquisitely painted; the youngest in the center, still a child, has a slightly less worked dress and a less elaborate hairstyle, in keeping with her age. The painting is presented in a late 19th century frame that has been adapted and regilded.

Oil on canvas. Lombard school of the seventeenth century. A smiling young girl is portrayed in an elegant black dress, embellished with lace on the neckline and a play of red and green laces and ribbons on the sleeves, which match the red embroidered petticoat; she wears her jewels around her neck, wrists, ears, in the hairstyle of her hair, where the austerity of pearls is lightened by colored ribbons; she holds a bouquet of flowers in her hand, which emphasizes her gracefulness and grace. Restored and relined, on the second canvas there is written, probably a copy of the original on the first canvas, which indicates who the young woman is: \\\"Margh.a D. Gridonia Gonz. Agnella - Soada Maffei - D\\\'etta Anni XVIII\\\", followed by a coat of arms with the initials C FAS This writing, in addition to defining the name and age, highlights the young woman\\\'s belonging to the College of the Virgins of Jesus in Castiglione delle Stiviere, founded in 1608 by the Marquise Guidonia Gonzaga together with the two sisters Cinzia and Olimpia, all nephews of San Luigi Gonzaga. This college had the purpose of imparting an education to young noblemen or young people from good families, who, with the dowry donated to the college, contributed to the sustenance of the same. The portrait has minor flaws. It is presented in an ancient, non-coeval frame, with small shortcomings.

Oil painting on canvas. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello frame.

Oil painting on canvas. Italian school of the eighteenth century. In the portrait of this gentleman, the dressing gown made of an elegant floral fabric stands out in particular, in shades of brick red that recall the color of the wig. The severity of the pose and the austere gaze of the character almost contrast with the almost frivolous elegance of his clothing. The painting, restored and relined, is presented in a frame from the early 1900s.

Oil on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.

Oil on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor of the young Alexander, the future king then known as Alexander the Great: according to what Plutarch recounts in his “Parallel Lives”, the young Alexander was a brilliant pupil, so much so that he was also initiated into the most profound and esoteric Aristotelian doctrines, from which derives the aura of mystery and profound interiority that shines through in the work presented here. The painting has been restored and relined. It is presented in a stylish frame. The painting, restored

Oil on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a large landscape, as its added elements in the foreground; Behind them opens a verdant countryside with a village on the hill. Restored and relined, the painting is presented in a period frame.

Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.