Group of 4 Baroque Mirrors Italy XVIII Century - Emilia Half XVIII Century

Oil on canvas, applied to cardboard following an old restoration from the end of the 19th century. The Mater Dolorosa is a dramatic representation of Mary, with her heart pierced by a sword and weeping, to represent the great pain for the death of her son, as had been foretold to her by the priest Simeon when, with Joseph, he presented the newborn Jesus in the temple . Also in this canvas the whole human drama of the grieving mother shines through. In a gilded frame from the end of the 19th century.

Oil on copper. The young Saint Sebastian, tied to a tree (according to tradition on the Palatine Hill, outside the walls of Rome that can be seen in the background), undergoes martyrdom, pierced by arrows shot by two Moors. It is the traditional iconographic representation of the young Christian martyr, a Roman soldier, a subject widely depicted in pictorial art for its intense drama and spectacularity. The painting is inserted in a beautiful coeval frame, carved and perforated with scrolls and leaf motifs.

Oil painting on canvas. Northern Italian school of the 18th century. A priest, kneeling in front of the altar, while celebrating or preparing to celebrate Holy Mass assisted by an altar boy on the left and a nun on the right, addresses his prayer to two saints, who appear above his head as a representation of his meditation and interior prayer. On the altar stands the fresco dedicated to Mary enthroned with the Child Jesus, angels and saints. The work has different color losses and is proposed in a gilded frame from the end of the 19th century, with shortcomings.

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Oil painting on canvas. Northern Italian school of the 17th-18th century. The work of a devotional nature, sees the Madonna, seated on the clouds and assisted by two angels who support her garments, is venerated by two saints, kneeling at her feet: on the right the young woman in princely clothes, at whose feet is resting a royal crown, it refers to Elizabeth of Hungary; on the left, the saint holding the Infant Jesus in his arms can be identified as San Caetano da Thiene. Particular is the play of glances between the various characters, which intertwine together with the positions and gestures, to create an almost circular movement. The painting has been restored and relined. It is presented in an ancient frame restored at the beginning of the 20th century, with various current shortcomings (to be restored).

Oil painting on canvas. French school of the late 18th century. In a romantic atmosphere, highlighted by the blue-pink shades of the sky, a verdant countryside is depicted, crossed by a small river (which runs to the sea in the background and populated by villages on its banks), on which some figures male and female in classic tunics, they engage in conversations. The painting has small holes and drops of color (marked cretto). It is presented in a stylish frame.

Oil on canvas. Italian school of the eighteenth century. It is a large hilly landscape, rich in vegetation and crossed by a small stream, along which two men, in the center of the scene below, are fishing from a pool of water. Above them a sky full of clouds, which fade into the distance, evoking imminent rains. Restored and relined, the painting is presented in a gilded frame from the mid-1900s.

Oil on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to two large pumpkins and mixed fruit (grapes and peaches): with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

Oil on canvas. Lombard school of the late 17th-early 18th century. The rich composition offers a large bouquet of colorful flowers in an embossed vase, next to a bowl full of porcini mushrooms and a bunch of grapes: with different intensities of color, the various naturalistic elements emerge from the completely dark background, creating effects of lights and shadows. Restored and relined, the painting is presented in an early 20th century frame.

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.