Oil on Canvas Bacchic Scene - XVII Century
Work title: Scena bacchica
Art School: Northern Europe School
Subject: Landscape with Figures
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Scena bacchica
Oil on canvas. Northern European School. The painting in calm tones proposes to the viewer, personified by the figure of the man at the bottom right who observes climbing a tree branch, a scene of orgiastic entertainment between men and women in a landscape that evokes Eden with free animals and in peace (the peacock, the rabbits ..). Among the others, on the left a child is playing with soap bubbles: the intent to contrast the transience of life with the pleasures of the senses is evident; high up in the clouds, a deity observes the scene, Chronos, the god of time, who with his scythe underlines human mortality. A label on the frame attributes the work to the Flemish Philippe-Augustin Immenraet (1627-1679), due to the proximity of the landscape subject to his style. The work, restored and relined, has a central color drop. It is presented in a stylish frame.
Product in fair condition showing some signs of wear.
frame Size (cm):
work dimensions (cm):
Art School: Northern Europe School
Time: 17th century - from 1601 to 1700
Subject: Landscape with Figures
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.
The product is visible at Cambiago
Oil on canvas. The Immaculate Conception is a Catholic dogma, proclaimed by Pope Pius IX on December 8, 1854, which states that the Virgin Mary was preserved immune from original sin from the first moment of her conception. The historical path that led to its definition lasted for at least four centuries, during which furious theological disputes were intertwined, especially between Franciscans and Dominicans. The theme of the Immaculate Conception began to appear in art since the debate was heated, Initially the theme was approached by Gothic artists in a cryptic way, referring to the viewer the conclusion, perhaps putting a series of symbols and metaphors easily decodable. In the fifteenth century the works of art became more evident, but it is from the seventeenth century, with the Counter-Reformation, that the most famous iconographic image of this dogma was established. The essential characters are those of the woman of the Apocalypse: an ever-young woman - because she was chosen and conceived before all humanity - clothed in the sun (the light that radiates from behind), crowned by twelve stars surmounted by an apotheosis of cherubim, Who rests her feet on a crescent moon and often, as in this depiction, crushing the head of the defeated apocalyptic dragon; She has her eyes turned to heaven, in a contemplative attitude, her hands often joined in prayer, other times wide open and stretches upwards in a gesture of momentum. The pictorial production of this subject became very wide and extremely varied, in the wake of the disputes that concerned it. Similar productions to the one proposed here are found, at the end of the '500, above all between Lombardy and Genoa. As an example from Lombardy can be cited Stefano Maria Legnani, called the Legnanino (1660-1715). In the Ligurian context, in particular in Genoa, where the image of the Immaculate Conception had an extraordinary diffusion from the end of the sixteenth century to the whole Baroque age, becoming the central theme through paintings and sculptures in the decorative programs of the city buildings, this subject is very close to the one proposed, in the production of Paolo Gerolamo Piola (1666-1724). The painting in question had been restored and displayed in a revival frame.
Oil painting on canvas. Northern Italian school of the early 18th century. The scene tells an episode in the love story between the queen of Egypt and the Roman triumvir Antonio: Cleopatra, to demonstrate her wealth and seduce the handsome general, prepares a sumptuous banquet, during which she chooses a pearl of inestimable value and he dissolves it in vinegar, then offering the drink, considered a powerful aphrodisiac, to Antonio. This beautiful painting represents the beautiful half-length queen, seductive in the play of nudity covered with precious jewels and draped in rich fabrics, while she is about to immerse a large pearl in a chalice: on her left the face of Antonio who stares at her astonished, fixed in a gesture of the hands that expresses the amazement at being the beneficiary of this extreme act, on the right some handmaids, admired and amazed. The whiteness of Cleopatra's complexion stands out in the center, while the other figures fade into the shadows on the sides, thus the apotheosis of beauty. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Venetian school of the seventeenth-eighteenth century. On the back there is a label from the Di Rosa Art Gallery, which attributes the work to the "Venetian School of 1600". The great scene, rich in figures and very animated in the intertwining and superimposition of the bodies, tells the episode of the Gospel of John in which a woman caught in adultery is brought before Jesus by scribes and Pharisees to find out his opinion about the his sentence to be stoned. Jesus, while writing on the ground with his finger, urges his interlocutors to be merciful with the phrase "Let him who is without sin cast the first stone", thus saving the woman from the death sentence and leaving her free to go, with the exhortation not to sin anymore. The subject has been extensively re-proposed in art, with different views on the characters. In this painting, the woman is in a central position, but all the other characters around her make the gaze converge downwards, towards the hand with which Jesus, crouched, is writing on the ground; both the face and the right arm of the woman are practically parallel to those of Christ, as if they followed and conformed to the direction that Jesus indicates to her. In the other numerous figures curiosity dominates, the intent to understand, the question that Jesus raises with his question, represented in multiple expressive variants of both faces and bodies; curious is the detail of the lenses - the glasses of the priest whose head comes out behind the woman and the magnifying glass of the crouched figure on the left in the background - which two figures use to "see better" what is happening. The pictorial and interpretative modalities of the painting recall the Venetian production close to Girolamo Brusaferro (1677 - 1745), the Venetian artist whose painting represents the median way between the great tradition of late Baroque painting similar to Luca Giordano and the innovative coloristic sensitivity typical of eighteenth-century grace. Restored and relined, the painting is presented in a coeval frame, in carved, stuccoed and lacquered wood.
Oil on canvas. Italian school of the seventeenth century. The large scene depicts the Three Fates, or the three deities of Roman mythology, called Moire in Greek mythology, who presided over the destiny of man: the first spun the thread of life, the second dispensed destinies, assigning one to each individual, establishing them even the duration, the third, the inexorable, cut the thread of life at the appointed moment. Their decisions were immutable: not even the gods could change them. Sometimes depicted as three elderly women, others as young, they appear in this painting with female features of various stages of life: in the center the goddess who spins is of adult age, on the right there is a young goddess who decides the length of the thread, or the duration of life, on the left an old woman who is preparing to cut the thread with a pincer. In reality, from this work it is clear how the three divinities worked in symbiosis and how the three tasks were actually shared, because all three together represented Fate, the Destiny of man. The canvas, previously restored and relined, needs further restoration due to small diffuse drops of color and a patina of dirt. It is presented in a contemporary relacquered frame.
Oil on the table. Northern European school of the 17th century. The scene depicts an episode in the life of Scipio narrated by Tito Livio and Valerio Massimo. Publius Cornelius Scipio, later known as Scipio the African, in 209 BC. during the Spanish campaign, after the capture of Cartagena he received as a personal gift a beautiful virgin, who was in the group of hostages. But he, listening to the pleas of his family, respected her by sending her back to her parents and fiancé, with the only recommendation that her betrothed work for peace between Rome and Carthage. In the representation Scipio is in the center, seated on his throne, and turns to the left, to the suppliant parents of the girl, while with a merciful gesture, he indicates to them to take back his daughter, standing on the right, flanked by her boyfriend. All around, soldiers and followers of the king. The scene is full of figures, bright and colorful, and underlines the positivity of the king, a central and powerful character, but capable of meekness and clemency. The restored painting has been reinforced on the back with wooden strips. It is presented in a stylish frame.
Oil on canvas. In the beautiful composition you can see, resting on an inlaid wooden sideboard, a basket full of cherries, some of which are scattered on the top, and a plate full of red currants, mixed with leaves and a few cherry blossoms. A goldfinch rests on the handle of the basket; to frame the composition, on the right a large bouquet of multicolored flowers in a vase, on the left a red curtain. The bright colors of the fruits, the flowers and the curtain stand out, while the support cabinet blends into the dark background, as does the little bird, distinguishable from the dark background only by the white plumage on the wings and the red outline of the eyes. The work is part of the large 17th century Emilian production of this highly decorative type of subject. The painting, restored and relined, has a marked crack and drops of color along the edges.
Oil on canvas. French school of the seventeenth century. The scene is set in front of an open arch in a stone structure, which gives access to uninhabited and bare rooms. Two figures, a woman and a putto, are delighting with different instruments: she plays a mandolin and, scattered on the ground, there is a palette of colors, books, jewels, armor and weapons, other musical instruments, and a globe. on which the putto stands, producing soap bubbles; on the ground in the center, a cartouche mentions the saying \"Sic transit gloria mundi\". This is a famous Latin phrase, which in Italian means \"Thus passes the glory of the world\", used to emphasize the ephemeral value of the things of life, symbolized by various objects (arts, literature, wealth ...), destined to vanish like soap bubbles. The whole scene therefore has a strong allegorical / symbolic meaning: even the sunset, which can be glimpsed on the left, expresses the same concept, everything in the world is destined to end. The theme of the transience of life, always present in art, had its maximum development in the seventeenth century, closely related to the sense of precariousness that hit the European continent following the Thirty Years' War and the spread of plague epidemics. With allegorical scenes like this, rather than with the Vanitas or Memento mori, or scenes or still lifes with symbolic elements alluding to the theme of the transience of life (the skull, the candle that is consumed, a clock, a broken flower), we wanted precisely to emphasize the ephemeral condition of existence, of man and earthly goods. On the back of the work there is a cartouche that says a probable attribution to Simon Vouet. The painting, restored and relined, is presented in a re-adapted antique frame.
Oil on canvas. John the Baptist was represented, wrapped in the traditional animal skin, seated on a rock contemplating the crucifix; at the bottom right, a source of water, a baptismal symbol, gushes out of the rock. His traditional iconographic signs then appear, witnesses of his missionary peculiarities, although the pose of the saint is atypical, more contemplative than that of a preacher. The pictorial modalities are close to the Spanish school of derivation to Murillo, the greatest Spanish artist of the religious baroque, who permeated his figures with an intense psychological interpretation. The painting, restored and relined, is presented in an ancient coeval frame, with small shortcomings.
Oil painting on canvas. Venetian school of the eighteenth century. The painting depicts the biblical episode taken from the book of Genesis, in which Joseph\'s brothers, jealous of their father Jacob\'s predilection for him, sell him a slave to merchants who go to Egypt and declare to their father that he is dead: they wear on trial the tunic soiled with the blood of an animal, that special tunic that Jacob had made specially weave for his beloved son. In this representation, in which the vivid colors underline the drama, the intense movement of the old patriarch stands out, who, disfigured in pain in the face, tries to keep that stained fabric away from himself, moving his whole body to the left and extending his arm. not to allow her to approach him, almost an attempt to deny the evidence. On the right, the group of three brothers, close together in an accomplice attitude, who tell and point to each other the paternal drama. Restored and relined, the painting is presented in a re-adapted antique frame.
Oil on canvas. Venetian school of the eighteenth century. A biblical episode taken from the Old Testament book of Tobias is represented, in which it is narrated how Tobiolo, returning from a long initiatory journey, in which he was accompanied by the angel Raphael and the dog, restored sight to his blind father. In the scene, the figures of the two protagonists stand out in the center, the old father, seated on a bench and watched over by his faithful wife, and the young Tobiolo on his knees; behind them the angel dominates them, with his large protective wings open on the two men and who wraps Tobiolo in an embrace, a sign of divine participation and protection for the man who is performing the miracle. The scene is built around the gestural dynamic of healing - Tobias touching his father\'s blind eyes by anointing them with the gall of the fish he caught during the journey and that he holds in his other hand - which is interpreted according to tradition as a sort of anointing which produces salvation. The chromatic vivacity and movement of the bodies, intertwined, superimposed, interacting to give dynamism but at the same time almost to create a unicum, enclosed in an almost circular shape, well delimited by the angel\'s wings, stand out in this work. The painting has been restored and relined. It is presented in a re-adapted antique frame.
Landscape with Figures at the River
Landscape with Figures at the River
Oil on canvas. The wide landscape is centered on the river that flows into the valley rich in vegetation. Along its course, in the foreground, some women are washing clothes. The pictorial features, fast and not very aggregated, refer to the production of Antonio Francesco Peruzzini, belonging to a family of painters originally from Pesaro, including his father Domenico and his sons Giovanni, Antonio Francesco and Paolo, active in the Marche region and in Italian cities such as Rome. Bologna, Turin and Milan, during the seventeenth century and the first quarter of the eighteenth. Antonio Francesco's production is often associated with that of his brother Giovanni, having the two worked together. Antonio Francesco specialized in landscape painting, under the influence of Salvator Rosa and landscape architects such as Pietro Montanini and Pandolfo Reschi, and further influences also came from Nordic painters active in Italy, especially from Pieter Mulier known as il Tempesta. In his first works the originality of his painting is already distinguished given a rapid drafting and an intense and brilliant chromatic stamp. From the beginning of the nineties the long artistic bond between Antonio Francesco Peruzzini and Alessandro Magnasco began, following their meeting in Milan, where Peruzzini had settled; from this period onwards his painting seems to fall apart, through forms that become more dynamic and light, almost fantastic, to finally arrive at a style marked by an ever greater disintegration of the forms of nature and their movement. Restored and relined, the work is presented in an early 20th century frame.
River Landscape with Shepherdess Child and Herds
River Landscape with Shepherdess Child and Herds
Oil on canvas. The painting is accompanied by the expertise of two art historians, dr. Dario Succi and Dr. Federica Spadotto. Both confirm the attribution of the painting to Giuseppe Zais, "the master from Belluno unanimously recognized as one of the most original and genuine interpreters of the great landscape painting of the Venetian seventeenth century." In the landscape, under the branches of a tree that frames the left and with the background of blue mountains, a shepherdess and her little son stand out in the foreground, making their animals (sheep and cows) water from the river. the Zais, after an initial training in his native country at the school of his fellow countryman Marco Ricci, who moved to Venice in 1732, soon became part of the ranks of lagoon landscape architects, appreciated and hired for large decorative works in the palaces of the city. In the 1970s the Zais abandoned this production and chose to devote himself only to small works, which reflected an adhesion to the world of the humble and a contemplative dimension of the past, rarely subjects present in the paintings of important clients. The work presented here can be considered an example of this last creative phase, according to art historians in the 70s of the eighteenth century: the Zais proposes a rather barren foothill landscape, where the shepherdess followed by her little son play the their assignment, without any concession to an ideal beauty, but rather with a reminder of a precise, hard, simple real life, made up of effort and affection at the same time. Even the colors of the canvas enhance the artist's empathy for the world he depicts: the warm golden-brown tones of the landscape, illuminated by the blue of the distant peaks reverberating that of the sky, envelop the human and animal figures in the foreground, which they emerge thanks to material brushstrokes and brighter but not bright colors, especially in the fleece of animals and in women's clothes. Peculiar of the Zais are also the faces, round and full, with features that are repeated always identical in the peasant figures of his works, associated with turned bodies, dressed in clothes that look like papier-mâché. The work shows signs of restoration, although still on the first canvas. On the back there is an inscription in German with the name of the previous owner and the date "Christmas 1977". It is presented in a gilded frame from the early 1900s, with small cracks and lacks.
An elegant porcelein centerpiece manufactured by Nanni Valentini in the late 1960s, with dark green decorations. Under the basement the manufacturer's trademark and a paper label are present. 'Arcore Ceramica' was founded in 1967 by Marco and Tina Terenzi, wife of the sculptor and ceramist Nanni Valentini. The object is coming from an important private collection in Milan.
Suitcase turntable, vinyl upholstery.
Metal "Amstel Beer" card holder.
Centerpiece in chromed metal.
Pocket emptier in plastic material.