Ancient Painting Night Landscape with Cemetery Painting Oil on Canvas

Oil on canvas. Italian school of the 17th century. The putative father of Jesus, clearly identified by the flowery staff on top, holds the child in his arms, stretching it out as if to present and offer it to the world; a look of tenderness passes between the two. Restored and re-framed, the painting is presented in a stylish frame.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

Oil on canvas. From a private collection in which they were combined as a pendant, the two compositions are actually different in manufacturing and technique, as well as in the size of the canvases. The slightly larger canvas (71 x 91 cm), in oil, features two different wicker baskets filled with white and red grapes, surrounded by other fruit (pears and peaches) and with a curious squirrel sniffing the air; the dark background is empty. The second canvas (64 x 88 cm) is made with the lean oil technique, which makes it very close for pictorial effect to a tempera on canvas; the composition is made up of variegated flowers and fruit (watermelon, grapes, peaches), and is placed in an external environment, albeit not very defined (the clouds on the left). Both canvases need cleaning; the first shows traces of previous restoration and relining (patch on the back), while the second, in her very worn first canvas, has very widespread small holes and drops of color. Both works are presented in white lacquered frames, albeit different in shape.

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.

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. 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 painting on canvas. Lombard school of the seventeenth century. First canvas and mounted on original frame. The painting, in particular octagonal shape, probably forming part of a series of sacred scenes, proposes the mystical contemplation of the Crucifix by two saints. The Cross, placed on a marble altar, is mounted on a richly worked bronze base, with the statue of St. Sebastian pierced by arrows in the center and two little angels on the sides, bearing the palm of martyrdom and other arrows. On the sides of the Cross, suspended on two clouds, because they are part of the mystical vision, the figures of Mary and John, as narrated by the Gospel. On the sides the two saints who contemplate: on the left Sant'Ambrogio, recognizable by the bishop's clothes but above all by the scourge on his feet, an unmistakable attribute, which he, according to tradition, waved threatening against the enemies of the faith, to defend from any attack that people who was entrusted to him. On the right is St. Francis Xavier, the young Jesuit who shared the foundation of the Society of Jesus with Ignatius of Loyola and was a missionary in the East, who is dressed in a priestly habit, a hat and a pilgrim; at his feet you can see a stick, presumably that of the pilgrim. The painting needs cleaning and restoration for some small cuts.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

Tempera on canvas. The painting is part of a series of gouaches depicting the Allegories of seasons. The landscape depicts the remains of a fortress with some figures walking and others on a cart. The swallows are flying over the green trees. Presented in coeval frame. Late 18th century.

Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.