Religious Subject Oil on Canvas Italy XVIII Century

Oil painting on canvas. It is certainly a king due to the presence of the crown and scepter at the bottom right; the man is clad in armor and rests his left hand on the helmet, to underline his prestige as a leader. Portrait in old age, as evidenced by the hoary hair, due to the physiognomic traits, the so-called "Habsburg chin" (or Habsburg chin, Habsburg lip, Habsburg lip), a particular hereditary malformation pathology of genetic origin, documented over the centuries , present in many members of the House of Habsburg. The somatic traits would lead back to Leopold I of Habsburg (1640 -1705), Emperor of the Holy Roman Empire, who led numerous war campaigns. The painting, restored and relined, has a slight tear on the red surface. It is presented in a frame from the early 1900s.

Gallant Scene and Bucolic Scene

Matching paintings on leather representing a gallant scene and a bucolic scene. Styled frames.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.

Oil painting on canvas. Northern European school of the eighteenth century. At the bottom right there is a trace of a monogram. Perhaps the gentleman portrayed is a magistrate, for the white curled wig combined with the black cape and white jabot. The expression on the man's face is severe and haughty. The portrait is inscribed in a painted oval, indicating the previous frame. Restored and relined, it is presented in a late 19th century frame that has been adapted and regilded.

Oil painting on canvas. Venetian school of the seventeenth century. The scene is full of figures and movement, and tells an episode of sacred history in a domestic guise. The little Maria, newborn, is in the center in the arms of the maids who are about to wash her, while her father Gioacchino looks at her with devotion; on the right a maid warms clothes by the fire in the fireplace, while on the top left other maidservants take care of the puerpera Sant'Anna. The scene is placed in a very large room, furnished with drapery, and which receives light from the small window at the top right. The work, created with good pictorial skills, is probably a preparatory sketch for a large canvas. The canvas has traces of restoration and relining. It is presented in a stylish frame.

Oil on canvas. The two paintings, certainly similar in terms of subject type and pictorial methods, offer two landscape glimpses typical of the 17th and 18th Nordic production. They feature large countryside spaces near watercourses and inhabited by farmhouses. There are figures of peasants and commoners focusing on their work. The blue mountains in the background, preceded by gentle hills and surrmounted by a blue sky with white clouds. They had been previously relined and restored and they both show color spots and opacity. They feature a contemporary frame.

A Sacrifice to Venus

Watercolor on paper. At the bottom left the name Giuseppe Cades, Although on the back, in addition to the attribution, the title "The oath of the Vestal Virgin". A girl is offering garlands of flowers to the statue of the goddess Venus, traditionally painted in a discrete way. She's holding the veil with one hand to cover the loins. The other hand covers the breast and the head with the hair gathered and adorned with flowers. Behind the girl, a young woman watches the scene, while a third peers from behind the column of the temple: therefore it seems to be a scene of supplication to the goddess, asking her to favor the love of two young men: according to both Greek and Roman tradition, the young before the wedding woman devoted themselves to this goddess, which was considered as the protector of marriage and conjugal fidelity. The work seems to be very close to the production of Giuseppe Cades, who in the 1780s and 1790s became one of the best known and appreciated personality in the Roman artistic world. He was a draftsman and an engraver too. The work is framed

Sant'Antonio Abate e San Paolo l'Eremita

Oil on canvas. It is a large Nordic landscape, dominated by rocky peaks on the left and a lake with a central island on the right; in the foreground some figures that tell the legend of San Paolo Eremita, on the left, and Sant'Antonio abate, on the right with a centaur. The Golden Legend of Jacopo da Varagine tells that Saint Anthony the Abbot visited Paul the hermit, who for forty years had lived in solitude fed by a crow who brought him bread every day. Sant'Antonio asked for news from a centaur, who also in this scene shows him the way to follow with his arm. The restored and relined work is presented in a period frame.

Oil on canvas. Center-Italian School. Typical dynamic scene of baroque taste focused on the figures of the Virgin Mary and the Child surounded by other adoring figures: on the right there is Saint Joseph , on the left two shepherds and on top an array of angels incensing, The painting, already restored, shows small drops of color. Displayed in frame.

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture - he is putting a hand on her knee-, while he is talking with the Angel who is showing them the way. Relined, the painting has some paint losses that need restoration. It is in an adapted frame, from the late '800 - early '900.

Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.

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.