Robert & Courvoisier Clock Ebonized Wood Switzerland '700

Oil painting on canvas. At the bottom right there is the signature N. Bouvier, the date and the name of the recipient of the work Procurante Viodot ("to the procurator Viodot?). It is a large canvas with a strong decorative impact, which proposes the Resurrection of Christ at the moment of his exit from the tomb, with the tombstone overturned on the left and the Roman soldiers on guard stunned and frightened; Christ occupies the entire upper part, lifted from the ground and surrounded by light, coming from the open heavens in which he hovers free from the yoke of death , while in the lower part the soldiers appear wrapped up in a tangle of limbs. The painting has traces of previous restoration, a marked crack and small scattered drops of color. It is presented in a 19th century frame.

Oil painting on canvas. Northern European school of the eighteenth century. A plate on the frame attributes the work to Meindert Hobbema (1638 -1709) one of the greatest Dutch landscape painters. While not confirming the attribution, we appreciate the good pictorial quality of the tree-lined landscape, enlivened by figurines and with a charming cottage that stands out in the centre, where the play of light and shadow created by the sun between the branches of the trees stands out. Restored and relined, the painting is presented in a mid-1900s frame.

Oil painting on canvas. Magdalene, recognizable by her long hair, scantily dressed clothes and prayerful attitude, is placed in the lower right corner of a large landscape, at the mouth of the cave where the saint lived in penance. The landscape is Nordic in type, with a stream flowing between the rocks of a valley surmounted by wooded hills; in the distance the blue peaks of the mountains, under the leaden sky. On the back of the stretcher there is a pencil writing with attribution to Nicolas Poussin the French classicist painter of the seventeenth century, who was a model and example for those who wanted to follow the same stylistic orientation. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Bolognese school of the XVII -XVIII century. Mary and the Child Jesus, who is in the arms of his standing mother, with his arms already extended to recall the Cross, are placed against a naturalistic background, which fades into a rosy sky in the distance, while on the right stands the shaft of a column. The faces of the two figures show a strong resemblance in the somatic features, in particular the eyes stand out, highly expressive in their seriousness. The pictorial methods look to the painting of Elisabetta Sirani (1638 -1665), who influenced Bolognese painting by introducing expressive and emotional modalities very early in the gazes of her characters. The work, restored and relined, is presented in an antique frame.

Oil painting on canvas. It is certainly a king due to the presence of the crown and scepter at the bottom right; the man is clad in armor and rests his left hand on the helmet, to underline his prestige as a leader. Portrait in old age, as evidenced by the hoary hair, due to the physiognomic traits, the so-called "Habsburg chin" (or Habsburg chin, Habsburg lip, Habsburg lip), a particular hereditary malformation pathology of genetic origin, documented over the centuries , present in many members of the House of Habsburg. The somatic traits would lead back to Leopold I of Habsburg (1640 -1705), Emperor of the Holy Roman Empire, who led numerous war campaigns. The painting, restored and relined, has a slight tear on the red surface. It is presented in a frame from the early 1900s.

Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.

The Triumph Of Minerva

Watercolor on paper, oval format. The bill of acquisition from a Finarte auction from 13/12/1971 is attached on the back with an attribution to the Carlo Carloni circle. There is also a paper label of origin from an important private collection. The watercolor is a preparatory sketch, probably for one of the many decorative frescoes executed by Carlo Carloni, a painter from Como, in the European courts. The drawing, mounted on cardboard, is presented in a frame.

Oil on canvas. In the large landscape, green and shady wooded hills stand out in the foreground, in which some and figures of shepherds live their daily lives: some look after a large pile of straw which they are setting on fire, others rest, others still lead the flocks on the path . In the background the blue-grey sky contrasts with the dominant color of the red earth. Restored and relined, the painting is presented in a mid-1900s 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.