Landscape with Buildings and Figures Oil on Canvas 18th Century

Oil on canvas. The large landscape depicts two figures on a path in the foreground, a man riding a horse and a woman with some sheep who is coming back after doing the laundry at the river. The path leads to a large river with boats. Along the river there are many buildings. The scene is framed by trees on both sides with a dry trunk on the right. Restored and relined, the painting is presented in frame. 18th century.

Portrait of a Gentleman, Oil on Canvas, Central-European School, 1700

Oil on canvas. Central-European School. Gentleman's portrait who's austere pose is liven up by the play of colors : the flowery silk of the waistcoat stands out whi the white lace jabot surounded by the other fabrics' colors, the green tail, the blue and ochre cape. Also the rosy face and the red lips stands out. Already restored. DIsplayed in a late-19th century frame.

Portrait of a Canon Oil on Canvas Center-Italian School 18th Century

OIl on canvas. Center-Italian School. The prelate is waring a traditional habit and he is holding a boog of prays of which is keeping the mark by putting his finghers between the pages undelining the priority of spiritual moments in his life; down on his left thare is a clock on a pile of books: it is a fair "memento mori" that is a reminder of the time passing and it reminds to dedicate life to important things as praying. The painting had been restored and displayed in a ancient frame that had been gilded again.

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.

Large Painting on Fabric

Vegetation and Parrot

Painted on fabric. It features a plant composition, with a central palm and a flying parrot. Of great scenographic effect, the painting belongs to the production that from the end of the 18th century rediscovered the naturalistic vein as a decorative subject, drawing inspiration from chinoiserie works, and which had Carlo Antonio Raineri and his son Vittorio among the greatest exponents. The painting has tears and spots of humidity. It is mounted on a contemporary stick.

Large Painting on Fabric

Vegetation with Parrot

Painted on fabric. It features a plant composition, with a central palm and a flying parrot. Of great scenographic effect, the painting belongs to the production that from the end of the 18th century rediscovered the naturalistic vein as a decorative subject, drawing inspiration from chinoiserie works, and which had Carlo Antonio Raineri and his son Vittorio among the greatest exponents. The painting shows tears and spots of humidity; it is probably cut in the lower part.

Fragment of Embroidery on Fabric of the 18th century

Embroidery on fabric. The largest fragment of the scene represents the birth of John the Baptist, with his father Zacharias sitting in the corner writing the name to be attributed to his son, while his mother Elisabetta watches over from the puerperal bed the care given to the child by her servants. The fabric has holes and tears. In a stylish frame.

Matching Paintings on Leather 18th Century

Gallant Scene and Bucolic Scene

Matching paintings on leather representing a gallant scene and a bucolic scene. Styled frames.

Antonio Gianlisi, attributable to

Still Life with carpets, jewels, fruit and a mirror

Oil on canvas attributable to Antonio Gianlisi. According to the different depicted objects such as a shirt thrown on an armchair, some jewels, a dressing table with mirror, some fruit and a tray with a pitcher and glasses, the still life could be located in the private room of a rich woman. Restored and relined, presented in an antique coeval frame. 18th century-19th century.

Bartolomeo Litterini attributed to

Adoration of the Shepherds

Oil painting on canvas. "A warm atmosphere and an amber light welcome the story of the Adoration of the shepherds. Placed in the humble manger full of straw, on white and humble cloths, Jesus receives the homage of the simple, of three shepherds who kneel before him bringing rural gifts. Mary stands out in the center, behind the Holy Child, she alone dressed in red and blue; she emerges on all the figures that surround her, characterized by gray dresses and low tones, earthy but also warmed by that supernatural light that floods the stable of Bethlehem. So it is for St. Joseph, the only upright figure, placed behind the Virgin, with a confident gaze turned to the sky, while angels and cherubs who have just come down from paradise crown him "(Dr. Giuseppe Sava) . From the expertise of Dr. Giuseppe Sava, the painting can be placed in the Venetian context of the late Baroque period: in particular, the personality of Bartolomeo Litterini, a lesser-known Venetian artist of that period, is found in it. We find in our work that organic and meditated constructive system - and clearly visible in works of the same subject of certain attribution -, typical of Litterini, which he used to lighten by alternating the solemn immobility of the central figures with a concrete search for reality and with the gaiety of the little angels suspended on the clouds, often in reckless poses. Restored and relined, the painting is presented in a period frame. The rich and complete attribution card of Dr. Giuseppe Sava is attached.