Portrait of a Nobleman Oil on Canvas Italy XVII Century
Work title: Ritratto di uomo con cane
Art School: Lombard school
Subject: Portrait / Face
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Ritratto di uomo con cane
Oil painting on canvas. Lombard school of the seventeenth century. The gentleman is portrayed standing, life-size, inside the house; he rests his right hand on a small table covered with red velvet, under a window that opens onto a large river landscape. Near his feet, on the left, the faithful dog, also in a dignified and composed pose; the rich golden and worked metal collar stands out at its neck, embellished with a pendant with a hard stone. The black suit in which the man is dressed almost completely merges with the dark and dark background of the room, if not for the reflections on the sleeves of the light that enters through the window and for the delicate white lace of the ruff and cuffs that frame the rosy complexion of the face and hands. The qualitative rendering of the work is remarkable, in particular in the face, well defined in its features and expressive, as well as in the anatomical features of the animal, whose gaze is as intense and penetrating as that of the owner. The portrait is part of that extensive portrait production that from the end of the sixteenth century becomes, in Lombardy in particular with Moroni, no longer just an official and elite presentation of important characters, but a representation of people in their naturalness, in their true essence, portrayed in less static poses and in less official environments. Restored and relined, the painting is presented in a beautiful carved and gilded wooden frame from the early 1900s.
Product in good condition, with small signs of wear.
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Art School: Lombard school
Time: 17th century - from 1601 to 1700
Subject: Portrait / Face
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. Emilian school. The large painting comes from the mixture of a piece by Guido Reni (1575-1642), "Virgin Mary at the sewing school", now lost, but known for studio copies and engravings, and another version, left unfinished by Reni himself and then completed by Gianandrea Sirani (1610-1670), and is now presented in the Hermitage Museum in Petersburg. The art historian Massimo Pulini has written about this second version and the finishing work by Sirani, in the article "Gianandrea Sirani painter of recitatives and finisher of unfinished pieces by Reni". The piece presented here refers to the version of Sirani in the composition that takes up the whole scene with female figures participating in the school, to which the little dog is added, however moved from left to right, while the presence of the girl accompanied by her mother on the right refers to the version of Reni. Moreover, an absolutely new element appears in this piece, which makes this canvas an additional version: the presence of a landscape opening in the background in the centre, framed between the two heavy curtains. The piece has been restored and relined. It is presented in an 18th century frame, regilded and adapted.
Oil painting on canvas. Neapolitan school of the mid-18th century. The painting proposes the Greek myth of the sacrifice of Iphigenia, the daughter of King Agamemnon, leader of the Achaean expedition that was to leave for Troy. As the Greek fleet was unable to take to the sea due to unfavorable winds, the soothsayer Calcante predicted that, due to an offense the king had inflicted on the goddess Artemis, it now opposed their departure until the king did not. sacrificed his young daughter on the altar. Iphigenia courageously accepted the sacrifice and spontaneously ascended the altar, but at the last moment Artemis, pitying, exchanged her for a fawn and took the girl alive in Tauris, where she became a priestess of the goddess who had saved her. The great scene, set outside the Greek camp by the sea (the anchored ships in the background on the left, the tents on the right), sees in the center the goddess Artemis who exchanges the young and beautiful Iphigenia for the fawn, while the priest Calcante he is already holding the sacrificial knife; on the right the desperation of King Agamemnon and his wife Clytemnestra. The painting is in stylistic ways close to the production of Fedele Fischetti (1732-1792), the Neapolitan artist who devoted himself mainly to allegorical / mythological scenes, in particular in his first works from the 1860s. The work presented here was auctioned at Sotheby's in April 1998. Restored and relined, it is presented in a style frame.
Erminia among the Shepherds
Erminia among the Shepherds
Oil on canvas. The large canvas recounts an episode taken from the Gerusalemme Liberata by Torquato Tasso, in which the young Erminia, princess of Antioch secretly in love with Tancredi, witnesses the wounding of her beloved in a duel. Driven by love, she therefore wears the weapons of the warrior Clorinda, her close friend, and at night she goes out to reach her beloved Tancredi and heal him. But in the Christian camp a ray of moonlight illuminates her and, mistaken for Clorinda by the sentries, she is forced to make a hasty flight: this is how it happens in a village inhabited by shepherds who live far from the war in an idyllic space, where she asks and obtains to be hosted for some time in the (vain) hope of forgetting her unhappy love. The work, already attributed to Carlo Loth, is rather referable to the production of Louis Dorigny, the Parisian painter who lived for a long time in Italy, in Rome, in Venice and finally definitively in Verona, where he obtained numerous orders from Veronese but also from clients. Venetians and Lombards, extending his activity as a fresco painter from Bergamo to Udine. In Verona since the beginning of the century, the preferences in the field of painting went towards a complex classicistic language in the composition, but calm and elegant, even in the great decorative works. Dorigny conforms to this painting, who in this canvas combines the balanced classicism of Simon Vouet (of whom he was grandson) with the chiaroscuro he learned in Rome and the calm Venetian elegance. Restored and relined, the painting is presented in an early 20th century 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 painting on canvas. The wide view of the Imperial Forums of Rome is part of the vast landscape production of the Grand Tour period, intended for wealthy European aristocrats traveling to Europe - and in particular in Italy, where Rome was considered a must - who wanted a souvenir of the places visited. The Roman Imperial Forums are an architectural complex consisting of a series of monumental buildings and squares, the center of political activity in ancient Rome, built over a period of about 150 years, between 46 BC. and 113 A.D. Despite the enlargements, the fires, the restorations and the reconstructions, during the Antiquity the Imperial Forums kept intact both their architectural conformation and their function. Their almost definitive destruction occurred during the Renaissance at the hands of Pope Julius II (1503-1513), who used the whole area as a quarry for materials to be reused in the building and artistic renovation of the city he initiated. The protests of leading artists such as Raphael and Michelangelo were of little use. In the following centuries various excavation campaigns were undertaken, with greater vigor starting from the nineteenth century, but the area was completely excavated at the beginning of the twentieth century and the ancient architecture was almost completely erased to make room for the construction of via dei Fori Imperiali , which connects Piazza Venezia with the Colosseum. The Forum was rediscovered starting from the sixteenth century also thanks to the Roman view painters who at that time loved to paint the ruins emerging in the pasture area. The view proposed here presents the Imperial Forums before the excavations begun in the nineteenth century, when the road that still crosses them had not yet been built: they are still surrounded by green countryside and the Roman hills stand out in the background. Restored and relined, the painting is presented in a re-adapted 19th century frame.
Wild boar hunting
Wild boar hunting
Oil on canvas. The scene is set at the feet of a mountain on the river bank where a fisher is fishing and the focus is on a group of hunters dressed like knights and armed with swords and lances who are delivering the final blow to the already wounded and dying wild boar with the help of dogs. The large format highlights the important commissioner. Restored and relined. Revival frame.
Oil on canvas. The painting is set in the woods near some architectural ruins and the focus is on the lively group of hunters dressed like knights and armed with swords and lances. They are delivering the final blow to the already wounded and dying deer with the help of dogs. The large format highlights the important commissioner. Restored and relined, it is presented in revival frame. 18th century.
Oil on canvas. Lombard School. It is the portrait of a man in armour standing proud, almost in motion, his hand sitting on the hilt of his sword; there is a coat of arms top left, a painted title block bottom right with a long Latin inscription, that identifies the man. He is Bartolomeo III Olevano, who belongs to the powerful noble family of the Olevano, feudal lords of many towns in the Pavia and Lomellina areas (where their castle still exists), who was very involved in the history of Pavia and its countryside until the 18th century. Bartolomeo III, born in 1512, had dedicated himself to the art of war for 40 years, carrying out numerous and highly honoured deeds, and was prefect of Mortara and Novara during the domination of Charles V, leader of soldiers and ambassador of Philip II. His most important achievements are summarised in the title block: a translation of the text is available. The coat of arms of the family has an olive tree on the left, from which the family took its name. The painting comes from an important historical Lombard family collection.
Oil on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano neighbourhood), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband belonged to the noble Piedmontese Corno family (originally called Del Corno). The noblewoman is portrayed standing, in a splendid richly embroidered dress, embellished with lace; she lays her hand on a precious box inlaid with ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than the face, the clothes, the glass jar. The painting comes from an antique Lombard collection. The date 1478, reported in the inscription, is not very consistent with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification mistakenly made by the restorer.
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.
Etching. Copy of the print engraved by Hannibal and published by Nicolaus van Aelst. Of both the signature along the inner margin: from left "Annibal Caracius fecit et inve." On the right "Nico van Aelst for." The theme, recurring in Carracci's pictorial production, is proposed here by dividing the scene into two vertical sectors, using the wooden pole of the hut as a partition: on the left the adoring shepherds, on the right Mary, Joseph and some Angels, a division therefore between normal humanity and the Holy Family, although all the characters converge in the center, focusing their gaze on the Child. The print is in good condition; it is presented in a stylish frame.
Oil painting on canvas. Lombard school of the seventeenth century. First canvas and mounted on original frame. The painting, in particular octagonal shape, probably forming part of a series of sacred scenes, proposes the mystical contemplation of the Crucifix by two saints. The Cross, placed on a marble altar, is mounted on a richly worked bronze base, with the statue of St. Sebastian pierced by arrows in the center and two little angels on the sides, bearing the palm of martyrdom and other arrows. On the sides of the Cross, suspended on two clouds, because they are part of the mystical vision, the figures of Mary and John, as narrated by the Gospel. On the sides the two saints who contemplate: on the left Sant'Ambrogio, recognizable by the bishop's clothes but above all by the scourge on his feet, an unmistakable attribute, which he, according to tradition, waved threatening against the enemies of the faith, to defend from any attack that people who was entrusted to him. On the right is St. Francis Xavier, the young Jesuit who shared the foundation of the Society of Jesus with Ignatius of Loyola and was a missionary in the East, who is dressed in a priestly habit, a hat and a pilgrim; at his feet you can see a stick, presumably that of the pilgrim. The painting needs cleaning and restoration for some small cuts.
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.