Still Life and Musical Elements Oil on Canvas Italy XVIII 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 canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Oil painting on canvas. Northern European school of the 19th century. This evocative nocturnal view with the full moon illuminating a cemetery, dominated by the large Crucifix on the left and with a bat hovering on the right, fits well into that secular meditation on the theme of the cult of the dead and burial which since the mid-eighteenth century he fascinated Europe, giving rise to an elaboration of a modern concept of cemetery, with the recovery of a dignity - as well as a wholesomeness - of this place. Added to this are the romantic reflections on the man-nature relationship seen as an affirmation of the ineluctable finiteness of the human being as opposed to the infinity that surrounds him; therefore we arrive in painting to represent tombs and cemeteries, symbols of finiteness and transience, always enveloped, almost surrounded by nature, a sign of infinity, of life that continues. As in this work, where the moonlight, which pierces the dark clouds, restores clarity and therefore life to the cemetery. The work, relined and restored, has small drops of colour. It is presented in a late 19th century frame.

Still Life

Tempera on canvas. Chaekkori, which translated literally means "books and objects", is a type of painting of the Still Life genre belonging to the end of the Korean dynastic period called Choson (1392 -1910), in particular which developed from the second half of the 18th century to the first half of the '900, which was widely successful in all social states, to express the love for the culture of the Korean population. It is characterized by the depiction of various objects that define the man of letters, in particular books are always present, as in this one proposed here, in which a goose pen for writing is placed side by side, a set of porcelain bowls, a fan folded in its case. Relined and restored, the painting is presented in an early 1900s frame.

Oil painting on canvas. Northern Italian school of the XVII-XVIII century. In the scene the Virgin Mary, intent on praying on the left, receives from the Archangel Gabriel on the right the announcement that she will be the Mother of Jesus, through the work of the Holy Spirit present in the form of a dove that descends from above, immersed in the divine light. The setting refers to the period of execution of the work; near Mary the objects of prayer to indicate her spirituality, but also a spinning wheel, to indicate her human activity. Restored and relined, the painting is presented in a period frame.

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.

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Oil on canvas. Flemish School. Magdalene is represented with her iconographical symbols: in the desert, half-dressed and with her hair down, with the book of Holy Scriptures and in an attitude of ecstasy; next to her there is a skull, symbol of " momento mori", that recalls to the transience of life. Restored and displayed in a frame made with readjusted old woods.

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. Bloody scene depicting a puma assaulting two watchdogs. The dogs are free from their chains, but they are succumbing to the puma. Restored and relined, it requires cleaning. Revival gilded frame. 18th century.

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.