The Announcement Oil on Canvas Italy XVII Century
Artwork title: Annunciazione
Artistic school: Northern Italy School
Subject: Sacred subject
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Annunciazione
Oil painting on canvas. Northern Italian school of the seventeenth century. The two protagonists, kneeling Mary and the Archangel Gabriel, fill the scene, the background of which is just blurred in the divine light that radiates from the Holy Spirit descending from heaven. The only furnishing elements are the sewing basket and the ball on the floor, which brings back the humanity of Mary, while the angel holds the lily, symbol of purity, in his hand. Restored and relined, the painting has some small drops of color and marked cracking. It is presented in a gilded frame from the end of the 19th century.
Product in good condition, shows small signs of wear. We try to present the real state as fully as possible with photos. If some details are not clear from the photos, what is reported in the description will prevail.
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Artistic school: Northern Italy School
Age: 17th century - from 1601 to 1700In the seventeenth century, art was strongly conditioned by the religious problem: the Church was still one of the greatest patrons of works of art and used them to fascinate and impress the faithful, exalting salvation, reachable only with fidelity to the Church. 17th century art is therefore an educational tool, produced to be enjoyed and understood by many. Thus, the scenes that face the representation of an imaginary reality are accompanied by the analysis of the details and the great clarity of the environment, in order to propose every fiction as real and with the intention of emotionally involving the observer, making him live. in a subjective way an infinite and grandiose reality, also reflects the artist's desire to express himself freely: in fact he does not bend to pre-established schemes, he does not use rigid, contained forms, organized in rigorous compositional symmetries, but free, open and articulated forms . The art of the 1600s is therefore a representation, the purpose of which is to impress, move, persuade; it is the product of the imagination and its purpose is to persuade that something not real can become real. This complex artistic phenomenon is traditionally defined as Baroque, and its birth takes place in Rome between the third and fourth decade of the seventeenth century, where it is eminently represented by the work of Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. , even if the fundamental junction is constituted by the work of Caravaggio. The movement then spread throughout Italy and Europe (we remember in particular Rembrandt, Rubens, Velazquez), in the world of arts, literature, music, and in numerous other areas, until the mid-18th century.
Find out more about the 17th century with our insights:
Between Baroque and Baroque
Erminia meets the shepherds, Camillo Gavassetti / XVII Century
Subject: Sacred subject
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.
Mixed technique on paper, applied on cardboard. Italian school. The name of Londonio is proposed on the back: the delicate piece certainly recalls the subject and manner of the work of Francesco Londonio (1723-1783), the Milanese artist who specialized in the animal and pastoral genre. It can be considered a work inspired by Londonio, by an artist close to his field.
Under glass painting. Christ on the Cross and the Magdalene kneeling at his feet, naked and with long hair down according to the traditional iconography; on the ground near the Cross, a skull, traditional Memento mori, and an alabaster jar, the one containing the precious oil with which, according to the Gospel story, the Magdalene anointed the feet of Jesus as a sign of devotion in recognition of royalty. The painting is presented in a coeval wooden frame.
Painted under glass. The Magdalene is depicted in prayer before the Crucifix, naked and with her long hair down, attributes that characterize her. and with his hands over a skull, traditional Memento mori. The painting has slight color losses. The work is presented in a coeval frame, applied to a larger frame from the end of the 19th century.
Ink and watercolor on paper. Flemish School. On the back there is a lebel of a importantant private collection. The scketched drawing shows a view of a valley from a path on a hill that leads to a wood. Displayed in a revival 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.
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 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
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 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 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.
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.