Moses makes Water Gush from the Rock
Work title: Mosè fa scaturire l'acqua dalla roccia
Art School: Italian school
Subject: Biblical scene
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Mosè fa scaturire l'acqua dalla roccia
Oil painting on canvas. Italian school of the seventeenth-eighteenth century. The great scene depicts a biblical episode taken from the book of Exodus: while Moses is leading the people of Israel, freed from slavery from Egypt, in the desert to the Promised Land, his people are complaining of thirst; he then turns to God asking for advice, and receives the order to go to a mountain and hit a rock with his rod, from which all the necessary water gushes miraculously. In the scene the miracle has already occurred: Moses is on the left, with the rod in his hand, and followed by his faithful brother Aaron, while the whole field is occupied by several women who run with jugs to draw the miraculous water that flows to their feet. The painting, on the first canvas, is presented in an adapted frame from the end of the 19th century.
Product in good condition, with small signs of wear.
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work dimensions (cm):
Art School: Italian school
Time: 17th century - from 1601 to 1700
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.
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. 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 on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.
Oil on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing a simple meal, placed on a white cloth. The scene refers to the sphere of Alessandro Magnasco known as Lissandrino (1667 -1749), a Genoese artist considered one of the most original painters of the Italian eighteenth century, who distinguished himself in popular genre painting and, in particular, in the production of scenes from the life of Capuchin or Camaldolese friars engaged in the most varied activities, from studying in the library to confession, from the work of sharpeners or carpenters in the convent workshops to the simple recollection around the fire: in these works you can appreciate all the expressive freedom of the artist\'s brush. moves on the canvas with quick touches to describe flames, fireplaces, cats, books, dogs, poor bowls, lenses, books, poor patched clothes, chairs and stools, in short, a whole daily world of gestures and things built with a very special and unmistakable technique, made of a mixture of lively color and almost all played on monochrome, on which a few, skilful strokes of light descend to give shape and consis tence to the bony figures of the monks. The author of the work proposed here was certainly trained in the Magnasco area and was inspired by his style, although it is more sedate, without the flashes and interpretative freedom, often irreverent or ironic, towards the figures of the friars; he was able to take up the play of chiaroscuro, lights and shadows, which flow from a monochrome in the shades of browns, still creating a work of excellent pictorial quality. Restored and relined, the painting is presented in a gilded frame from the early 1900s.
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.
Oil on canvas. Venetian school. The two small glimpses present a lake landscape animated by numerous figures in activity (fishermen on the shore or on boats, travelers with their pack animals, small traders waiting for transport by boat); the architectural ruins of classical taste on the banks are peculiar. The paintings recall the ways of landscape painting widely spread in Veneto in the eighteenth century, which began at the end of the seventeenth century with Luca Carlevarijs (1663-1730) and then resumed by Michele Marieschi (1710-1743): oscillating between engraving and canvas of small or large format (in particular to respond to the great commercial demand of foreign travelers) such views and landscapes on the one hand faithfully testify the magnificence of the historic buildings of Venice and the beauty of the lagoon or the variety of the rural, lake and mountain landscape of the hinterland, on the other hand they indulge the creativity and imagination of the artists, combining real existing buildings with compositions of the imagination and creating a fantastic painting with a pre-romantic taste. The two landscapes are mounted on English frames from the mid-19th century, a period in which, following the Grand Tour, many works were purchased by foreign travelers, especially English, only to be bought back by Italian collectors in English auctions in the first half of the 20th century. . In fact, these works come from an important historical Milanese collection. They are presented in gilded frames from the first half of the 20th century.
Oil on canvas. The beautiful painting shows the face of St. Sebastian, depicted up below the shoulders, from one of which, uncovered, a crossbow arrow appears (the typology is recognizable by the type of arrow, dyed red). The painting was probably commissioned for devotional reasons: Sebastiano, a military saint, is the protector of soldiers but above all of archers and crossbowmen, and the choice to paint the small red arrow refers to the commissioning of a member of this military group. The work is accompanied by the expertise of the art historian Maurizio Marini, a specialist in Baroque painting and the art of Caravaggio. Marini considers this small portrait of the saint to be an autograph work of excellent technical-stylistic quality by the painter Francesco Curradi, considered one of the protagonists of the renewal of Florentine painting in the first half of the seventeenth century. Trained in the Florentine workshop of Giovan Battista Naldini, an eclectic and refined artist, Curradi surpassed the master by entering into a morphological and conceptual update and, freeing himself from the sentimental and religious limits of the Catholic Reform, he was able to acquire a remarkable psychological subtlety and an extreme pictorial quality. His qualities earned him many commissions and his works can be found in many churches and collections in the Umbrian and Tuscan countryside. Curradi had Cesare Dandini among his pupils, who, due to his refined features, often posed as a model for the works of the master, as would have happened for this San Sebastian. On the other hand, the same model, as well as other details, are found in other known works by Curradi, allowing a valid comparison. The painting has been restored and relined. It is presented in a frame from the first half of the 20th century.
Oil on canvas. Tuscan school. The scene presents a group of birds of different species, which flutter around the branch of a tree on which there is a nest with some chirpy birds, fed by their mother; the diversity of size and colors of the species stands out, assorted in an unrealistic way, due to the coexistence of specimens belonging to different habitats, moreover in line with the pictorial production of the period, which for purely decorative purposes often created such mixtures. The work recalls in the compositional modality and in the atmosphere a Flemish style, probably referring to a foreign artist working in Italy; the sharpness of representation of the birds is appreciated, well characterized in their anatomical peculiarities. The painting, restored and relined, is presented in an antique gilded frame.
Oil on table. The work is inspired by a graphic representation of the New Continent widely spread in Europe, following the interest and curiosity aroused by the New World, which made the subject widely used in the artistic-literary productions of the \\\\\\\'500 and\\\\\\\' 600. The allegory of America was conceived as a naked female figure adorned with a feathered headdress and holding a spear. The work proposed here is very close in the compositional structure to a print created by Johannes I Sadeler (Brussel 1550-Venice 1600 ca.) which places, as in this work, the allegorical figure on the right of the scene, while on the left a river landscape with other female figures dressed in the same way. The work presented here has undergone restoration with parqueting of the table. It is presented in a stylish frame.
Portraits of Famous Paiters
Portraits of Famous Paiters
Hand-coloured engravings on paper. These are forty self-portraits of famous painters, taken from the work by Carlo Lasinio and published by Nicola Pagni and Guidobeppe Bardi in Florence between 1790 and 1796, the "Collection of 324 portraits of excellent artists". Each print consists of an illustrated part with the portrait and a superimposed scroll with a two-line inscription with the name of the painter and some personal details, followed by an order number. The whole is framed with ornamental motifs in the four corners. Lasinio made this collection by also recovering plates previously engraved by other authors and colouring them, printing them a second time with coloured inks. The engravings are presented in stylish frames.
Oil on canvas. Central-European School. Gentleman's portrait who's austere pose is liven up by the play of colors : the flowery silk of the waistcoat stands out whi the white lace jabot surounded by the other fabrics' colors, the green tail, the blue and ochre cape. Also the rosy face and the red lips stands out. Already restored. DIsplayed in a late-19th century 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