Male Portrait Oil on Canvas Spain XVII-XVIII Century
Work title: Ritratto maschile
Art School: Spanish School
Subject: Portrait / Face
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Ritratto maschile
Oil on canvas. Spanish school of the seventeenth-eighteenth century. Portrait of a character holding a letter in his hand, while the envelope is placed on the table behind him, bearing the name (recurrent expedient in portraiture to make known the identity of the portrait), together with an address and a date, unfortunately not decipherable. Restored and relined, the painting is presented in an early 20th century frame.
Product in fair condition showing some signs of wear.
frame Size (cm):
work dimensions (cm):
Art School: Spanish School
XVIII Century - from 1701 to 1800
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.
The product is visible at Milan
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.
Oil painting on canvas. Lombard school of the seventeenth century. First canvas and mounted on original frame. Set in a prison, the scene features Sant'Ambrogio bishop who directs the person on his right to the sky, a soldier with the Cross around his neck, identifiable as San Vittore, a Roman soldier originally from Mauritania, who served in Milan at the time. of Maximian, and who was martyred for his Christian faith. It was the Milanese bishop who recounted the life and martyrdom of the saint in one of his writings and who spread the cult. On the left is another probable martyr of the faith, who witnesses the proclamation of beatitude by his cellmate; around, numerous other figures of condemned. The octagonal painting probably belongs to a series dedicated to the cult of the Holy Bishop of Milan. The canvas needs restoration and cleaning, presenting several stains and cuts (a tear in the center, others minor on the sides).
Oil on canvas. Center-Italian School. The Saitn from Assisi is represented while contemplating the Crucifix as he was traditionally portraited, itinerant in the Umbrian countryside. The painting had already been restored but need to be clean. Displayed in an ancient frame.
Oil on canvas. Center-Italin School. Mountainous landscape, blended on the left and framed by the leafy branches of a big tree in the foreground which occupies the entire right upper quadrant of the painting and that acts as background for a tragic scene on the path fown in the middle where some figure are probably telling about an ambush in the woods. Alredy restored. Displayed in a late-19th century frame.
Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.
Oil painting on canvas. Italian school of the seventeenth century. Born in Alexandria in Egypt in about 344, Maria Egiziaca was an Egyptian nun and hermit, venerated as a saint by the Catholic, Orthodox and Coptic Churches. After a dissolute youth, Mary arrived in Jerusalem following a group of pilgrims and here she converted to the Christian faith, beginning a life of penance in the desert. In the iconography she is depicted as a penitent near a cave with long hair covering her body and with the three loaves that she took to the desert. The painting, restored and relined, is presented in a 19th century gilded frame.
Oil on canvas. The scene refers to the myth of Cupid and Psyche, the two protagonists of a well-known story narrated by Apuleius in his work The Metamorphoses. Psyche, a mortal with a beauty equal to Venus, becomes the wife of Cupid-Cupid without however knowing who her husband is, who appears to her only in the darkness of the night. Discovering her identity at the instigation of her envious sisters, she is forced, before being able to reunite with her divine consort, to carry out a series of tests, at the end of which she will obtain immortality. The myth has been widely re-proposed over the centuries, both in painting and in sculptural art, just remember the famous sculptural group of Canova. In this painting, the two lovers delight in their amorous games in a patch of green adorned with a fountain and a lapwing, in the company of two cupids playing; on the right we can see, hidden, a faun spying on the couple. The canvas, already relined, has a hole in the center, in correspondence with Psyche's arm, a slight tear in the upper left and small drops of color. It is presented in an adapted 19th century frame.
Tempera on canvas. The painting is part of a series of gouaches depicting the Allegories of seasons. The landscape depicts the remains of a fortress with some figures walking and others on a cart. The swallows are flying over the green trees. Presented in coeval frame. Late 18th century.
Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.
Oil on canvas. Italian School. On the left, the landscape shows a farmhouse on the edge of a wood with rich vegetation, with figures of travellers on the path in front of it; on the right, the scene opens up to a view of a lake in the background, surmounted by blue mountains fading into the sky. The painting, conforming to the 18th century landscape style, has been previously restored and re-painted. In fair condition, it is presented in a revival frame.
Bird Hunting with Nets
Bird Hunting with Nets
Oil on canvas. Piedmontese School. The scene represents the bird hunting with net: some women, hidden under a shelter of wood and branches, are waiting with their cages for the birds which are gliding from the sky, on the right. The net is set up to trap them. The canvas had been restored and nailed to the back of the frame. Displayed in 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.