The Allegory of Europe Oil on Canvas Italy XVIII Century

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. The risen Christ is depicted half-length, wrapped in a red mantle, symbol of his humanity, while he holds in one hand the Cross, surmounted by two palms, symbol of martyrdom, but also by a precious crown, symbol of his royalty. At the top right, where the light comes from, a trumpet appears, the sound of which announces the Final Judgment. The work, restored and relined, is presented in a period frame (with several small faults).

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 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. 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.

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.

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.