Still Life With Flowers Oil On Canvas 18th Century

Oil painting on canvas. The great landscape presents a wooded countryside that overlooks a glimpse of the lake, surrounded by mountains and overlooked by small villages; a stream emerges from the lake and flows impetuously between the rocks on the banks. On the first canvas, the painting needs restoration due to a small tear and several drops of colour. It is presented in a late 19th century frame.

Oil painting on canvas. The young woman, who already appears in the twin painting (code ARAROT0212468), is portrayed here in a wedding dress, richly adorned with lace. Moreover, the woman wears the same set of pearl jewels as in the other portrait, as well as exhibiting the same hairstyle, with a fringe on her forehead in pigtails. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Of a bucolic and serene flavor, the scene set in the countryside on the edge of the village that can be glimpsed on the left, sees a woman and her son who, near a stream, await the shepherd with his flock with a lunch basket . Restored and relined, the painting is presented in an antique frame.

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Portraits of Famous Paiters

Hand-coloured engravings on paper. These are forty self-portraits of famous painters, taken from the work by Carlo Lasinio and published by Nicola Pagni and Guidobeppe Bardi in Florence between 1790 and 1796, the "Collection of 324 portraits of excellent artists". Each print consists of an illustrated part with the portrait and a superimposed scroll with a two-line inscription with the name of the painter and some personal details, followed by an order number. The whole is framed with ornamental motifs in the four corners. Lasinio made this collection by also recovering plates previously engraved by other authors and colouring them, printing them a second time with coloured inks. The engravings are presented in stylish frames.

Oil on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

Oil painting on canvas. The painting has the artist's name (Giovani Piana) and the date of creation 1616 at the top. It depicts Saint Simon holding a book and a saw in his hand, his iconographic attribute which would indicate the martyrdom he suffered. Restored and relined, the painting shows traces of the restoration along the margins.

Oil on canvas. This is a traditional depiction of the event of Jesus' death on the Cross, with his mother Mary and the beloved disciple at the foot of the Cross, contemplating the dying Christ; in the background the city of Jerusalem. Very essential in its depiction, and static in the positions of the evangelical figures, the scene emphasises the drama with a sombre background, although a light opens up high above Christ to announce divine participation in the event. The painting, which has already been retouched, shows some minor colour fading.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

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.

Oil painting on canvas. French school of the eighteenth century. On the base of the column to the right, there is an inscription with the woman's name, age 86 in the year of the portrait ("Marguerite Paree agèe 86 ans en 1762"). The canvas, with signs of restoration and relining, has a rather marked crack.

Mixed technique on paper, applied on cardboard. Italian school. The name of Londonio is proposed on the back: the delicate piece certainly recalls the subject and manner of the work of Francesco Londonio (1723-1783), the Milanese artist who specialized in the animal and pastoral genre. It can be considered a work inspired by Londonio, by an artist close to his field.