Ancient Painting '700-'800 Holy Subject Crucifixion Oil on Canvas

Oil painting on canvas. The painting offers a half-length portrait of two saints: both young and beautiful, the one on the right wears a crown on her head, but there are no other iconographic signs that allow their identification. Above them hovers, surrounded by light, the dove symbol of the Holy Spirit, towards which the queen's gaze is directed, while the other woman humbly keeps her eyes lowered. Restored and relined, the painting is presented in an antique 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.

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. Of a bucolic and serene flavor, the scene set in the countryside on the edge of the village that can be glimpsed on the left, sees a woman and her son who, near a stream, await the shepherd with his flock with a lunch basket . Restored and relined, the painting is presented in an antique frame.

Oil on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

Oil painting on canvas. The painting has the artist's name (Giovani Piana) and the date of creation 1616 at the top. It depicts Saint Simon holding a book and a saw in his hand, his iconographic attribute which would indicate the martyrdom he suffered. Restored and relined, the painting shows traces of the restoration along the margins.

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 painting on canvas. French school of the eighteenth century. On the base of the column to the right, there is an inscription with the woman's name, age 86 in the year of the portrait ("Marguerite Paree agèe 86 ans en 1762"). The canvas, with signs of restoration and relining, has a rather marked crack.

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 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.

View of Venice

Oil painting on canvas. Signed lower right. Several Venetian views of this English artist are known, with views of the Grand Canal populated by small boats with orange triangular sails; pastel, delicate and bright shades prevail. The work is presented in a stylish frame.

Oil on canvas. Central European School of the 19th century. The Holy Family, in very domestic and simple clothing, are standing outside a tent in a deserted area, which the pyramid at the bottom left allows us to place in Egypt, the place of the family's exile during Herod's persecution. A young shepherdess is honouring the Child with a lily, symbol of purity, and a basket of fruit, whose red colour is meant to allude to the Passion. Next to the human figures are the farmyard animals of the characters' domestic life, the family's faithful donkey and the girl's sheep. The work is presented in a carved and gilded wooden frame.