Still Life With Fruit and Hem Oil On Canvas 18th Century

Oil on the table. Spanish school of the seventeenth century. The gaze of this little girl is intense and penetrating, portrayed half-length in a delicate pink dress embellished with a lace collar, but with her hair held back in a lively and fluffy red cap, which gives a mischievous touch to the portrait. On the back there is an old attribution in pencil to Jacopo Chimenti known as Empoli. The painting is presented in an antique, gilded frame.

Rest on the Flight into Egypt

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Oil painting on canvas. Italian school of the seventeenth century. Born in Alexandria in Egypt in about 344, Maria Egiziaca was an Egyptian nun and hermit, venerated as a saint by the Catholic, Orthodox and Coptic Churches. After a dissolute youth, Mary arrived in Jerusalem following a group of pilgrims and here she converted to the Christian faith, beginning a life of penance in the desert. In the iconography she is depicted as a penitent near a cave with long hair covering her body and with the three loaves that she took to the desert. The painting, restored and relined, is presented in a 19th century gilded frame.

Oil on canvas. Italian school of the seventeenth century. The scene of traditional Christian iconography is very lively and lively, very rich in figures, details and colors: in the center the three figures of the Magi, who pay homage to the Baby Jesus, moved to the left with the Holy Family, while at right there is all the rich suite of the three kings, with gifts. Restored and relined, the painting is presented in a period frame, with shortcomings.

Oil on canvas. Spanish school of the seventeenth-eighteenth century. Portrait of a character holding a letter in his hand, while the envelope is placed on the table behind him, bearing the name (recurrent expedient in portraiture to make known the identity of the portrait), together with an address and a date, unfortunately not decipherable. Restored and relined, the painting is presented in an early 20th century frame.

Oil on canvas. The scene refers to the myth of Cupid and Psyche, the two protagonists of a well-known story narrated by Apuleius in his work The Metamorphoses. Psyche, a mortal with a beauty equal to Venus, becomes the wife of Cupid-Cupid without however knowing who her husband is, who appears to her only in the darkness of the night. Discovering her identity at the instigation of her envious sisters, she is forced, before being able to reunite with her divine consort, to carry out a series of tests, at the end of which she will obtain immortality. The myth has been widely re-proposed over the centuries, both in painting and in sculptural art, just remember the famous sculptural group of Canova. In this painting, the two lovers delight in their amorous games in a patch of green adorned with a fountain and a lapwing, in the company of two cupids playing; on the right we can see, hidden, a faun spying on the couple. The canvas, already relined, has a hole in the center, in correspondence with Psyche's arm, a slight tear in the upper left and small drops of color. It is presented in an adapted 19th century frame.

Oil on canvas. Bloody scene depicting a puma assaulting two watchdogs. The dogs are free from their chains, but they are succumbing to the puma. Restored and relined, it requires cleaning. Revival gilded frame. 18th century.

Oil painting on canvas. Venetian school. The scene, set in a desert territory close to snow-capped mountains, sees a traveling caravan, with an important female figure in the center on the back of a camel, addressing a servant below; the high social class of women is inferred, dominant over all the others, and the representation of the Queen of Sheba, the very rich biblical queen coming from the East to meet King Solomon, is hypothesized. The pictorial methods recall the production of Francesco Fontebasso (1707-1769) one of the main exponents of Venetian painting of the Rococo period. Probably the small work was a sketch for a larger canvas or fresco. On the back there is a label from the historic Simonetti collection in Rome. Restored and relined, the painting is presented in a late 19th century frame.

Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.

Oil on canvas. A seduction scene is described on a country path: a standing young woman shows her body to the man sitting to rest with her partner; while he looks away, his wife looks sorrowfully at the young harlot, holding her partner by the hand. Other travelers appear on the path. Perhaps of allegorical significance, the painting underlines the contrast between the freshness, brightness and ardor of the young female body, whose beauty is flaunted, and the ill-defined, bundled, almost hidden shape of the two elderly bodies. On the back of the painting there is a hypothesis of attribution to Giuseppe Gambarini (1680-1725) in pencil. Despite the dubious attribution, the painting is well done in the pictorial quality and in the rendering of the subject. Restored and relined, it is presented in a re-adapted antique frame.

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.

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.