Archangel Michael defeats the Devil Oil on Canvas Italy XVII Century
Work title: San Michele Arcangelo sconfigge il Demonio
Subject: Figures of Saints
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : San Michele Arcangelo sconfigge il Demonio
Oil on canvas. The work is a copy of the famous painting by Guido Reni (1575-1642), made between 1635 and 1636 and currently kept inside the Church of Santa Maria della Concezione dei Cappuccini in Rome. The iconography of the work is based on the vision of St. John the Evangelist described in the Apocalypse in which he appeared "... an angel who came down from heaven with the key of the Abyss and a large chain in his hand [... which ...] grabbed the dragon, the ancient serpent - that is, the devil, satan - and chained him ... ". The work, in the strongly Baroque original of great intensity and strength, is here taken up with fidelity and good rendering, although the colors are less brilliant and the dimensions reduced, to the detriment of the great wings of the archangel and the background of the rocky landscape of the underworld. The work, restored and relined, is presented in a frame from the early 1900s.
Product in good condition, with small signs of wear.
frame Size (cm):
work dimensions (cm):
Time: 17th century - from 1601 to 1700
Subject: Figures of Saints
Artistic technique: PitturaLa pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.
Technical specification: Oil on canvasThe oil painting is a painting technique using powder pigments mixed with bases in inert and oils.
Oil on canvas. North Italian school. The nobleman is depicted in an elegant red jacket with gold embroidery, a lace jabot around the neck. On his left the inscription that identifies him as Gentile Benaglio, a member of the Bergamo family important in Lombard history since the Middle Ages. On the right the noble coat of arms. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Italian school. The man is portrayed while he is writing music on the score placed on the table. At the top left the writing identifies the character: it is Giovanni Francesco Sillani, qualified as "very expert in the art of music". The Sillani or Silani family, originally from Urgnano in the province of Bergamo, was a lineage of organists and composers who held positions in various Bergamo choirs, from the end of the seventeenth century to the first decades of the nineteenth century. The painting, restored and relined, is presented in a relacquered contemporary frame.
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 painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period 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. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, a fruit bowl with peaches, a large basket full of figs and a goldfinch picking grains from the bunch of grapes placed on the table together. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.
Oil painting on canvas. Italian school. The scene tells the Greek myth of Neptune and Amphitrite: she was a beautiful nereid (i.e. a marine deity) with whom Neptune, god of the seas, fell madly in love and decided to want her as his wife: he had her kidnapped by a dolphin and made her his wife, as well as queen of his kingdom. In art Amphitrite and Neptune are often depicted together on the chariot of the god, which plows the sea pulled by rampant horses, and surrounded by tritons and other sea creatures. Restored and relined, the painting is presented in a gilded frame from the end of the 19th century.
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.
Oil on canvas. Italian School. On the left, the landscape shows a farmhouse on the edge of a wood with rich vegetation, with figures of travellers on the path in front of it; on the right, the scene opens up to a view of a lake in the background, surmounted by blue mountains fading into the sky. The painting, conforming to the 18th century landscape style, has been previously restored and re-painted. In fair condition, it is presented in a revival frame.
Bird Hunting with Nets
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.
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.
Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.
Augustus Bevilacqua, copy from
Augustus Bevilacqua, copy from
Plaster bust copy of the Augusto Bevilacqua preserved in the Glyptothek of Monaco. The Roman emperor is depicted as father of the country, with the Civic Crown in oak leaves; on the plinth that supports it there is the inscription “1534. Auguste / Buste Antique / Musée du Louvre ”, indicating the copy that served as a prototype for the one in question. The Augustus Bevilacqua takes its name from the homonymous Veronese palace that housed it until 1811, when it was bought by King Ludovico I and moved permanently to Monaco.
Suitcase turntable, vinyl upholstery.
Metal "Amstel Beer" card holder.
Centerpiece in chromed metal.
Pocket emptier in plastic material.
Uncle Scrooge in plasticized rubber. 70's.
Production in ITALY, GLASS With FABRIC CHALK