Tobiolo and Tobias Oil on Canvas Italy XVIII Century
Work title: Tobiolo ridà la vista al padre Tobia
Art School: Venetian school
Subject: Biblical scene
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Tobiolo ridà la vista al padre Tobia
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.
Painting in good conditions, with small signs of age.
frame Size (cm):
work dimensions (cm):
Art School: Venetian school
Time: XVIII Century - from 1701 to 1800
Subject: Biblical scene
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 on canvas. Neapolitan school of the eighteenth century. The scene, located near the sea, is dominated by a large complex of architectural ruins, with statues, arches, hanging gardens, and animated by numerous figurines of commoners intent on various activities. Restored and relined, the painting is presented in an antique frame.
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.
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.
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.
Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.
Oil on canvas. Lombard school. The painting portrays the two saints sitting on rocks in the shadows of leafy trees, while they break bread, in the foreground on the left; Saint Paul is traditionally dressed with animal skins, Saint Anthony Abbot is wearing the habit of the Order and he is holding a prayer book. The two Saints have often been represented together becasue they share many traits: they both lived in the third century, they are both Egyptian, they both left all of their properties very young to devote themselves to a life of complete solitude, living in prayer and poverty. Saint Anthony Abbot has been one of the most famous hermits in the history of the Church. Saint Paul the Hermit lived all of his life in complete solitude in the desert as well, fed only with the bread a raven would regularly bring to him, according to hagiographic narratives. When he was closer to death, Saint Anthony Abbot visited him, with whom he broke bread. In this representation, the landscape context doesn't remind of the desert lands of Egypt, but they are located in a Nordic or Alpine landscape. On the left, there is an eremitical landscape, with some green and a small stream bottom right. The painting, already restored and recanvased, presents evident craquelure. Frame in style.
Oil on canvas. Copy of a subject realized by Tiziano, who completed three different autograph copies, each one different from the other for the pose of the Virgin: 1. Mater Dolorosa, with open hands (oil on marble, at the Museo del Prado in Madrid); 2 Mater Dolorosa with folded hands (oil on panel at the Museo Cerralbo in Madrid); 3. Mater Dolorosa with folded hands (oil on panel, auctioned in New York on 06/04/2006). This pieces dates back to mid 16th century, but there are more later variants, attributed to the Venetian artist and his atelier. It is well known that Tiziano would introduce small variations even in his autograph copies to reinforce the autenticity effect. This copy, dating back to the following century, is still of the highest execution quality, There is a monogram on the back (in an affixed space on the canvas) that is probably the artist's signature. The painting, restored and recanvased, is presented in an antique frame.
Oil on canvas. The whole scene played on the chiaroscuro of black and red with high flames that blazing between towers and peaks of the cyty: in the frontground Enea and his father Anchises' figures with his son Ascanio next to him while running away from the city; on the right, in the background, Trojan horse. Even if the subject is close to the one of Alessio De Marchis (1684-1752), the painting in question is closer to the femish painting. Restored and displayed in an ancient frame.
Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.
Oil on slate. Painted on a thick slab of slate, the scene presents the dramatic moment in which Mary, surrounded by a group of pious women, weeps over the body of her Son taken down from the Cross: she abandons herself dramatically in the arms of the two women behind her, while at the her womb rests the inert body of the Son, on whose hand a third woman weeps; above, a group of angels who look out from the open skies, from which the divine Light springs, participate in the lamentation. Mary is the only figure who wears brightly colored clothes, which contrast with the waxy color of the body of Christ resting on her lap, while the other women wear clothes in dull colors, just as neutral are the bodies of the little angels. The figures are placed on a dark background, in which the opening of the sepulcher can hardly be seen: the chromatic effect is rendered thanks also to the pictorial base used, the slate, a stone also known as the "blackboard", as the most important slate quarries are located near the town of Lavagna in Liguria. The pictorial modality recalls the works of Pietro Mera known as the Flemish, a painter originally from Brussels who lived between the 16th and 17th centuries: active for a long time in Venice, working from 1570 to 1603 in the service of Cardinal d'Este, Mera made extensive use slate as a pictorial support for some of his works. The material with its characteristic dark color allowed the artist to create intense luministic contrasts and to emphasize the figures, depicted with a bright chromatic range and illuminated by brilliant touches of light. In good condition, the painting is presented in an antique frame.
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.