Ancient Painting '800 Portrait of a Young Dame Crayons on Cardboard

The Last Judgment

Oil painting on canvas. The work is probably the preparatory and presentation painting to the client of the fresco created by Moretti Larese for the vault of the church of Volpago del Montello (Treviso), dedicated to Santa Maria Maddalena. The Last Judgment describes Heaven on the clouds above, gathered around Christ sitting on the judge's throne. In the background the Trinitarian image is composed, with God the Father in flight and the dove of the Holy Spirit, among the choirs of angels and the elders of the Apocalypse. Christ the judge is flanked by his mother Mary, in the role of intercessor, and by the four evangelists who have in their hands the Gospels of which they are authors and alongside the traditional symbols. The saints of the Old Testament are lined up on the sides (David with the harp, Moses with the tablets of the law, John the Baptist with the processional cross) and the apostles Peter (with the keys) and Paul (with the sword of martyrdom). The terrace below is occupied by the other apostles (Andrew with the cross) and saints. The three Virtues of Faith, Hope and Charity, with their symbols, show the resurrected people the cross of Jesus' sacrifice. The angel with the top hat awakens the dead and shows them the judge. The archangel Michael, with his flaming sword and double-pan scales, decides the individual fate of the resurrected. Below, the elect (including mothers with their children) ascend to Heaven with the help of the angels. The damned instead end up in the flames of Hell. The painting presents evident traces of the underlying pencil drawing and, compared to the definitive fresco, some small differences in the postures of some figures and above all in the non-definitive colors. Moretti Largese was appreciated above all as a decorator of public and private buildings, but he also created some religious frescoes. The painting is presented in a late 19th century frame.

Italy, Late XIX Century

Mirror adorned with a carved and perforated cymatium with a central shell from which leafy spirals branch out; it was subsequently re-gilded and re-lacquered.

Italy, XVIII Century

Lacquered and gilded frame, 18th century Italian production.

Landscape with Figures

Oil painting on canvas. Signed lower left. Achille Vertunni was born and trained artistically in Naples, but then moved to Rome where, in his mature age, his studio in Via Margutta was a point of reference for many Italian and foreign critics and artists (D'Annunzio, De Sanctis , Franz Listz, to name a few) and was frequented by the nobility and politicians of the time, figures of the Risorgimento and visitors of the "Grand Tour". His first themes were inspired by historical events, but he then dedicated himself to landscape which, from the seventies, became the almost exclusive subject of his paintings. Its sunsets in the Roman countryside and in the Pontine Marshes are characteristic, sometimes animated by butteri and herds of buffalo. This painting shows two figures in traditional Lazio clothing, a couple of farmers resting near a small votive chapel along the road; on the right the coastal landscape opens up along the Tiber, at the bottom of which the profile of Rome stands out, with the Dome of St. Peter and Castel Sant'Angelo. Above all, the typically romantic atmosphere of a sunset, with its play of soft, pink lights. The painting, relined, is presented in a period frame.

Large wall mirror with console, mirrored glass supported by a wooden frame, light blue mirrored glass frame with decorations and small glass flowers.

Landscape with Sheeps

Oil painting on canvas. Signed lower left. The landscape, a glimpse of a forest along the bank of a river, where some sheep graze, refers to the en plein air landscape production of which Daubigny was one of the main representatives: for several years the artist sailed along the rivers of the north of France on his boat set up as a studio in 1857, living in direct contact with nature and painting it. Considered one of the precursors of Impressionism, he was able to put in his landscapes "a freshness of atmosphere, a calm and rustic lyricism, a truth of sensations, a splendor of colors that were absolutely new in French painting". The painting is presented in a frame from the first half of the 20th century.

Vicenza, Late XIX Century

Louis Philippe fireplace made in Vicenza, in walnut. It has tapered pilasters to support the upper carved band; Mercury mirror with frame carved with successive leaves and gilded.

Italy, XX Century

Antique mirror with frame carved with leaf motifs and gilded.

Wall mirror; mounted on a wooden frame with a transparent glass console. Frame in stained mahogany wood, mirrored glass of which a decorated and pink colored border band.

Italy, XX Century

Pair of Umbertine style mirrors with cabaret frames in gilded wood, Italy, 20th century. Carved cyma with leaf and rocaille motifs, frames with carved Greek key and engraved decoration. A broken mirror.

Switzerland XX Century

Mirror obtained by modifying a leather riding saddle, Switzerland, 20th century. Saddle with brass studs, amygdala mirror within perimeter rope border, metal medallion. The saddle bears several engravings, including "Maienfeld", a Swiss town.

Italy, XX Century

Baroque style mirror with carved and gilded wooden frame, decorated with leaf elements arranged in a curl and cymatium with leaves within scrolls. 20th century Italy