Pair Of Still Lifes Oil On Canvas 18th Century

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.

Still Life with Fruit and Chicken

Oil painting on canvas. Italian school. The composition presents a set of fruit (watermelon, pears, peaches and pomegranates) and vegetables (a large pumpkin and cauliflowers on the left) placed freely on a shelf; on the right, probably standing on the ladder of the chicken coop that you can hardly guess, stands a proud hen. The composition, already relined and restored, needs cleaning and restoration due to slight color losses. It is presented in a stylish frame.

Ferdinando Porta Oil On Canvas Mid '700

Rest During The Flight Into Egypt

Oil on canvas. Attribution to Ferdinando Porta on the back. The scene depicts the moment of rest of the Sacred Family, during the flight into Egypt: on the left, sitting on the ground, are Mary reading and Jesus, already a boy, but still childishly abandoned on His Mother's lap; on the right, Joseph is standing, even if he's leaning on a rock on the back, looking at his family. On the top, over the cloud that envelops the tree full of fruits that has given rest to the family, there is a host of angels, presented not only as children, but also as boys, almost as to accompany the growth of Jesus. The composition of the scene, as well as the kind of representation of the figures and the tones, are fitting to the pictorial modes of Ferdinando Porta. The Milanese painter, son of Andrea Porta, an artist with an imprint from Emilia, established himself on the Lombardy artistic scene after studying in Bologna, where he was one of the students of Carlo Cignani. The part of his production known today unfortunately only starts from the fourth decade of the '700, because his previous documented work, for Milanese churches and for Palazzo Casati Dugnani, has been lost. His later work is known, some important commissions helped him to definitely establish himself, between 1741 and 1753 he worked in the Basilica di S.Ambrogio in Milan, in the Duomo di Monza and in the Cathedral of Vigevano, realizing pieces that contributed to define the character and the range of the pictorial modes of Porta: solidly linked to Lombard figurative tradition, after the initial influence from Emilia, he introduced new manners in his painting that are influenced by Venetian painting, in particular by Tiepolo, with whom he had worked, for the vigorous plasticity of the figures and the naturalistic characterization of the allegoric or sacred themes. Observing one of his latest pieces, considered one of his best, the altarpiece of the Baptism of Christ, realized by Porta between 1753 and 1754 for the Duomo of Vigevano, compositional and chromatic manners close to the ones of our Rest during the flight into Egypt can be found there: the figures are well defined plastically, but they are shaded on the outlines with chromatic contrasts in which brown and cold tones prevail, like in the group composed of Mary and Jesus, while the isolated brightness of Joseph's vest stands out; on the top, the composition of angels, complex in the intertwining of the bodies, not defined but almost fading, like the landscape, bare and devoid of connotative elements. These are all elements that well highlights the ties of Porta with the 17th century Lombard tradition, that earned him a wide consensus and fortune with both the private and public commissioners in Milan and nearby cities, in a moment when neoclassicism was becoming more popular. The painting, in its original canvas but retensioned, shows some signs of restoration. It is presented in a frame in style.

Jacob Blessing the Sons of Joseph Oil On Canvas 19th Century

Oil on canvas. This is a smaller reproduction of the original painting by Rembrandt in 1656, displayed today at the Gemäldegalerie Alte Meister in Kassel. The scene portrays the episode told in the Book of Genesis: Jacob, on his deathbed and now blind, lays his hands on the two sons of Joseph, born in the land of Egypt, including them in the plan of salvation to which God had called Abraham, Isaac and all of their descendants. The painting has many but small paint losses and small scratches, that need restoration.

Scope Of Andrea Scacciati Oil On Canvas Late '600 Early '700

Composition With Flowers And Fruit

Oil on canvas. It is a rich flower composition, presented in an embossed metal vase, with some fruit at its feet (figs, peaches, cherries). From the Tuscany area, the piece reminds of the work of Andrea Scacciati, leading figure for still life paintings in Florence in Late Baroque age. Scacciati was very loved by the Medici and the most famous Tuscan patrician families, he was the author of pieces of the highest stylistic quality, mostly depicting flower compositions characterized by wise painting abilities, enhanced by intense chromatic effects. The piece, restored and recanvased, is presented in a frame in style.

King Darius' Death Oil on Canvas Late 1800s

Oil on canvas. Epilogue of the great battles between Alexander the Great and the Persian king, the depicted scene told by Plutarch is about a riot which started among the Persian lines before Alexander's constant advance. Darius' trusted men took him as prisoner and stabbed him while the Greek army was approaching. Darius didn't make it to see the rival conqueror, but before dying he met with Polistrato, a Greek soldier who came at his bedside and gave him some water. Darius asked him for kindness and mercy for his family and his remains. Restored and relined, it is presented in a frame. Good condition. Late 1800s-Early 1900s.

Penitent Magdalene Oil on Canvas Flemish School 17th Century

Oil on canvas. Flemish School. Magdalene is represented with her iconographical symbols: in the desert, half-dressed and with her hair down, with the book of Holy Scriptures and in an attitude of ecstasy; next to her there is a skull, symbol of " momento mori", that recalls to the transience of life. Restored and displayed in a frame made with readjusted old woods.

Landscape with Figure Oil on Canvas Center of Italy 17th Century

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.

Still Life with Wild Game and Doves

Still life with game and doves

Oil on canvas. The painting recalls those made by Felice Boselli (1650-1732) considering its style and subject. In this painting there is a strong contrast between the dark dead birds and the two white lively doves. Restored and relined, it is presented in a frame of the end of 1800. 17th century.

Landscape with Female Figures Oil on Canvas Piemontese School 1700

Bird Hunting with Nets

Oil on canvas. Piedmontese School. The scene represents the bird hunting with net: some women, hidden under a shelter of wood and branches, are waiting with their cages for the birds which are gliding from the sky, on the right. The net is set up to trap them. The canvas had been restored and nailed to the back of the frame. Displayed in frame.

Saint Francis Oil on Canvas Center-Italian School 18th Century

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.

Boiserie Decorative Panels Italy 19th Century

Stained wood boiserie decorative panels. Along the edge there is a Louis XIV taste frame with braidings of flowering vines; on top of the panels a bow supports a big panoply with musical instruments. The gilded and podded framing is not coeval.