Christ Crucified Under Glass Painting Italy XVIII Century - XVIII century

Tempera on paper on etching. French school from about 1750-1770. Refined colouring of a coeval French print. The oriental subject is a young Chinese man who hints at some dance steps on an outdoor trail, under a plant of exotic fruit. The quality of the piece reminds of the French Rococo production, like those of François Boucher (1703-1770) or Jean Pillement (1728-1808), who both contributed to the spreading of the liking for Chinese representations in Europe. Pillement was the author of numerous drawings and etchings of Chinese taste, collected in two volumes (1767-71) and widely spread in Europe as models. The drawing needs cleaning and restoration. It is mounted on cardboard and comes with a frame.

Oil on board. The scene takes place in a wide desert landscepe with a cave where Magdalene was living praying and meditating; the Saint is in the center of the scene and she is in extasis in font of the crucified Chris and a skull placed on a rock outside the wide cave. The painting had been restored and displayed in frame.

Oil on canvas. Landscape of Northern Italy, with large mountains covered in snow on the background, there is a small castle at their feet, and the wide river is in the foreground, with some fishermen on its shores. The painting has some paint losses and evident craquelure. It is presented in a frame in style.

Oil painting on canvas. Italian school of the seventeenth century. The depiction of the face of St. Peter is inspired by the homonymous work by Guido Reni, made around 1600, an intense representation of the disciple whose face expresses the anguish and repentance for having just denied Jesus, during the Passion, as narrated in the Gospels . The restored and relined work is presented in a period frame.

The Triumph Of Minerva

Watercolor on paper, oval format. The bill of acquisition from a Finarte auction from 13/12/1971 is attached on the back with an attribution to the Carlo Carloni circle. There is also a paper label of origin from an important private collection. The watercolor is a preparatory sketch, probably for one of the many decorative frescoes executed by Carlo Carloni, a painter from Como, in the European courts. The drawing, mounted on cardboard, is presented in a frame.

Oil painting on canvas. The Virgin Mary is gathered in a meditative attitude, with her hands folded to her chest, her eyes painful, devoid of any otherworldly aura, but rather emphasized in her very human maternal pain. Already relined, the painting shows small diffuse drops of color. It is proposed in a stylish frame.

Oil on canvas. In the scene, set in a countryside near a watercourse, some lumberjacks are intent on cutting tree trunks, to entrust them to the watercourse; on the left, in the background, women and children bring the meal. The canvas offers a well-defined landscape rich in elements, in which human figures instead rather nuanced, almost monochrome those on the left, are inserted as accessory elements in the scene. Restored and relined, the painting is presented framed with a strip.

Oil on the table. A young commoner is portrayed gracefully posing with her spindle for spinning. If the figure recalls, due to the type of figure, an Italian subject, the pictorial modality refers rather to France or central Europe: it could be a work from Gran Tour, therefore created by a foreign artist in Italy for study. The work is presented in a gilded frame from the end of the 19th century, with small shortcomings.

Oil on copper. The Magdalene, wrapped in her long hair with which she covers her nakedness, turns her eyes to the sky where angels look out. Around her a barren landscape. The painting is presented in a frame from the 1900s.

Group of 6 Etchings

Etchings. The six prints belong to the same series, entitled "C'est-ici les différents jeux des petits Ppolissons de Paris" (Here are the different games played by the little brats of Paris), which illustrates the street games played by Parisian children. Each panel presents the title and explanation of the game in French: the first panel, which also presents the title of the series, has "Le sabot" (the clog), then we have: La sortie du college (leaving school), la toupie (the spinning top), la corde (the rope), la fossette ou jeux du noyaux (the hazelnut game), le coupe- tête (the little horse). They are the work of Augustin de Saint-Aubin, who belonged to a famous dynasty of French draughtsmen and engravers.

Group of 7 Etchings

Etchings. They are taken from the series "Mes gens ou Les commissionnaires ultramontains au service de qui veut les payer". The name of the artist who made the drawings is at the bottom left, the name of the engraver Tillard at the right. The first engraving in the series presents the title and an overall image of the tools used by the various commission agents; the other six engravings depict the individual characters carrying out different activities, carrying out commissions at home: one recognises the letter carrier, the musician, the carpenter. The engravings are presented in revival frames.

Original silk curtain, superimposed on canvas and applied on a wooden frame. The large painting served as a decorative pictorial element. Inside a double painted frame, the external one with a geometric motif with spikes and scrolls, the internal one with a garland of flowers, there is a bush composition of leaves and flowers behind which a palm tree rises; a little bird flutters over the bush. The canvas has undergone restoration for lacerations restoration ...