Painting with Battle Scene

Oil on canvas. Northern Italian School of the 17th-18th century. The scene features the figure of the Risen Christ at the centre, seated on the clouds, holding the Cross with one hand and with the other pointing downwards, where His gaze is also directed, towards the recipients of the Redemption; He is surrounded by angels and is illuminated by a beam of intense light that projects diagonally from the top left, piercing the clouds, a symbol of the presence of God the Father. Restored and relined, the painting is presented in a late 19th century gilded frame.

Oil on canvas. The scene depicts the episode told in the biblical book of Genesis, of the expulsion of Adam and Eve from the Garden of Eden, after they committed the sin of eating the forbidden fruit, fruit of the tree of knowledge of Good and Evil. Aware of their nakedness, the man and woman are driven away by an archangel, with the sword of justice in his hand and surrounded by a cloud of fire, they walk shamefully and modestly into the world, represented in a Nordic landscape. The painting, restored and relined, is presented in an early 1900s frame, with carved and applied wooden decorations and friezes.

Oil painting on canvas. The large scene depicts Mary, already Assumption into heaven and supported on the clouds by little angels, receiving the Crown from the Holy Trinity. This coronation expresses the apotheosis of Mary, who by becoming "Queen of Heaven" becomes the intermediary between the earth, Humanity, and Heaven, the Divinity: what is not given to man to see becomes possible through Mary who in this glorification is more than ever the tenacious thread that binds us to the Almighty, the true "gate of heaven", as it is defined by the Fathers of the Church. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. The identification of the saint is given by the presence of the large wooden wheel, symbol of the instrument of her martyrdom. Usually the saint is represented with a crown on her head and dressed in royal clothes to underline her princely origins. Instead here we have an atypical depiction of her, with her hair loose, covered only by a large red cloak (the color of blood, therefore of mortal humanity) which falls from her shoulders and forces her to cover her breasts with her hands; her gaze is turned upwards, where the heavens open and an angel descends, holding the palm of martyrdom with one hand and placing a crown of flowers on her head with the other, symbol of her mystical marriage with Christ . It is therefore a representation that sees her at the moment of passage to eternal life, similar to a penitent Magdalene in mystical adoration, who offers herself to Christ without any human recognition. The chromatic choices stand out in the painting, which against a dark and gloomy background bring out the red of the open sky and of the mantle, and the whiteness of the flesh, both of the woman and of the angel. The canvas, already restored and relined, is presented in a worked frame from the late 19th century, with some defects.

Oil painting on canvas. Northern Italian school of the 18th century. According to the taste of the 18th century, the proposed landscape is dominated by the remains of an ancient temple, vestiges of past glories. All around there is a countryside with a stream, but fading in the distance towards the blue peaks of a mountain range. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

Oil on canvas. 17th century Tuscan school. According to Christian tradition, Saint Veronica was the 'pious woman' who, seeing the passion of Jesus carrying the cross and his face smeared with sweat and blood, wiped it with a linen cloth, on which the imprint of Jesus' face would remain. This veil, also known as the Holy Shroud, thus became the iconographic sign of the saint. Veronica also appears in the centre of the painting, while two angels on the sides hold the linen on which Christ's face is imprinted, crowned with thorns; below it, a chalice symbolically collects the divine blood, while above the saint's theta the Holy Spirit hovers. Restored and re-framed, the painting is presented in a stylish frame.

Oil painting on canvas. The composition features a hanging hare in the centre, flanked by some quails and a pigeon; on the right side, a wicker basket containing chestnuts and pine branches; on the left side a bunch of asparagus and a vase of colorful flowers, whose bright and lively colors create a chromatic contrast with the other elements, all in brown and gray tones. Restored and relined, the painting is presented in a repurposed 19th century frame.

Oil on canvas. Central European school. The scene, set inside a tavern, depicts a fight between two men, who are held by the other patrons and by the innkeeper; on the table, next to the interrupted lunch, the cards of the game that sparked the quarrel. The whole scene is filled with figures, painted in a raw and almost grotesque way, with very pronounced, almost theatrical expressions and poses, underlined even more by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which started in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in a period frame.

Oil painting on canvas. The scene tells the biblical episode of the book of Exodus in which little Moses, whom his mother had entrusted to the river inside a basket to save him from the massacre of the Israeli male children (ordered by the Pharaoh of Egypt to prevent if the Israeli people became too numerous and could rebel against slavery), he is found by a handmaiden of Pharaoh's daughter, who decides to adopt him and saves him. The scene is set on the banks of a river but in a non-oriental landscape, with architectural structures on the right: numerous figures, depicting the princess' entourage, placed in the center together with the child in the basket. The restored canvas was applied on a modern stretcher. It is presented in chronicle of the 19th century.

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represents a battle between knights, it is dominated in the foreground by the confrontation between two of them. The painting comes from a historical collection from Lombardy. The painting is still in its first canvas and original framing; there are patches on the back and signs of antique restorations, it has also undergone an additional pictorial and reperativr restoration, in our lab. Well marked crack. The painting is presented in an original and coeval frame, lacquered.