Oil on Copper XVII Century

Oil painting on canvas. Northern Italian school of the 18th century. A priest, kneeling in front of the altar, while celebrating or preparing to celebrate Holy Mass assisted by an altar boy on the left and a nun on the right, addresses his prayer to two saints, who appear above his head as a representation of his meditation and interior prayer. On the altar stands the fresco dedicated to Mary enthroned with the Child Jesus, angels and saints. The work has different color losses and is proposed in a gilded frame from the end of the 19th century, with shortcomings.

Oil on canvas. In the scene, set in a countryside near a watercourse, some lumberjacks are intent on cutting tree trunks, to entrust them to the watercourse; on the left, in the background, women and children bring the meal. The canvas offers a well-defined landscape rich in elements, in which human figures instead rather nuanced, almost monochrome those on the left, are inserted as accessory elements in the scene. Restored and relined, the painting is presented framed with a strip.

Oil on the table. A young commoner is portrayed gracefully posing with her spindle for spinning. If the figure recalls, due to the type of figure, an Italian subject, the pictorial modality refers rather to France or central Europe: it could be a work from Gran Tour, therefore created by a foreign artist in Italy for study. The work is presented in a gilded frame from the end of the 19th century, with small shortcomings.

Oil on cardboard. Hispanic school. The Spanish saint Domenico of Guzman (1170-1221), was a preacher and founder of the Order of Preaching Friars, also commonly associated with the Inquisition. Iconographically he is depicted with the white and black cloak of his order; in this representation of hand and popular taste, he also wears a sackcloth and stole, carries the monstrance with one hand, with the other holding a statue of the Virgin and Child, the themes of his preaching. The saint is located in a rural context: on both sides there are two churches, at his feet figures of peasants with herds, and of fishermen, a sign of the people to whom he preached. The painting is presented in a styled frame.

Group of 6 Etchings

Etchings. The six prints belong to the same series, entitled "C'est-ici les différents jeux des petits Ppolissons de Paris" (Here are the different games played by the little brats of Paris), which illustrates the street games played by Parisian children. Each panel presents the title and explanation of the game in French: the first panel, which also presents the title of the series, has "Le sabot" (the clog), then we have: La sortie du college (leaving school), la toupie (the spinning top), la corde (the rope), la fossette ou jeux du noyaux (the hazelnut game), le coupe- tête (the little horse). They are the work of Augustin de Saint-Aubin, who belonged to a famous dynasty of French draughtsmen and engravers.

Group of 7 Etchings

Etchings. They are taken from the series "Mes gens ou Les commissionnaires ultramontains au service de qui veut les payer". The name of the artist who made the drawings is at the bottom left, the name of the engraver Tillard at the right. The first engraving in the series presents the title and an overall image of the tools used by the various commission agents; the other six engravings depict the individual characters carrying out different activities, carrying out commissions at home: one recognises the letter carrier, the musician, the carpenter. The engravings are presented in revival frames.

Tempera on canvas. Decorative element from a Lombard mansion house depicting a fake marble relief composed of a rhomboid frame enclosing a basket of fruit leaning on a lion's head. Garlands of leaves outside. The Neoclassical taste favored the sculptural plasticity over the pictorial expressiveness and the predominance of shape over color. The canvas is presented in frame. Light losses of color and stains of moisture. Last quarter of the 18th century.

Tempera on canvas. Decorative element from a Lombard mansion house depicting a fake marble relief composed of a rhomboid frame enclosing a basket of fruit leaning on a lion's head. Garlands of leaves outside. The Neoclassical taste favored the sculptural plasticity over the pictorial expressiveness and the predominance of shape over color. The canvas is presented in frame. Light losses of color and stains of moisture. Last quarter of the 18th century.

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 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 on cardboard applied on canvas. Italian School. The two compositions show different elements: on has different fruit in the foreground with colorful flowers; the other one shows a plate from which are fallinf flowers and fruit. They had been restored and need to be cleaned. They come with frames.

Painting Under Glass

Painting under glass Countryside landscape with a men holding an oil lamp and a lance taht is going off the path followed by a dog maybe to go hunting. Nordic style landscape and building. Displayed in frame.