Antique Painting with Religious Subject Oil on Canvas XVII Century

Oil painting on canvas. Neapolitan school of the 17th-18th century. It is a traditional scene of the deposition of Christ from the Cross, with the inert and pale body lowered into the arms of his mother Mary, in turn embraced and supported in her pain by the disciple John, and around, sharing in the mourning, two pious women and two disciples. The scene is characterized by a diagonally descending linearity, which follows the body of Jesus, starting from the pole of the Cross raised on the left and ending with the woman crouched to embrace Jesus' feet on the right. All around, a bare and gray background, which underlines the drama and emptiness that it creates. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. French school of the 18th century. The mythological subject of the goddess Diana bathing was widely spread in 18th century painting and, particularly in the Flemish area, also in the previous century. It was proposed in different variations, with the goddess alone, or accompanied by nymphs, or with Actaeon; in this case the beautiful deity, recognizable by the quiver hanging from the tree branch and the hunting dog that accompanies her. she is about to bathe in a body of water while a mischievous faun spies on her behind her. The scantily clad female body occupies the entire scene, central and of a whiteness that stands out in the midst of the shadows of the leafy forest, with all the other figures and elements that surround it. The small painting was restored and relined at the beginning of the 20th century.

Oil painting on canvas. In the composition, a woman with her child, in ancient clothes and flanked by an ox, kneeling on steep ground, stretch their arms upwards in an act of supplication or perhaps contemplation: it could be an interpretation of Mary who accompanies Baby Jesus to contemplate his destiny, with the ox which refers to the birth and simple pastoral life of the Holy Family. Restored and relined, the painting shows several traces of color loss. It is presented in a stylish frame.

Oil painting on canvas. The scene, outdoors at the foot of a slope, shows two female figures slumped over and behind them a pilgrim, with the traditional staff and shells on his cloak. The woman in the foreground holds a rosary in one hand, and a sleeping child lies on her lap. The scene brings to mind a moment of sorrowful and contemplative prayer. The painting, already restored and relined, has several drops of color and stains. It is presented in a stylish frame.

Oil painting on canvas. The scene tells the biblical episode of the Book of Exodus, in which Moses prays to the Lord to help the people of Israel who, fleeing from Egypt, find themselves in the Sinai desert without food and without water: it is reproduced in the painting the miracle of the water, which Moses makes flow from a rock, under the gaze of God and while the people look on surprised and cheering. The setting of the scene is actually in a verdant landscape, such as that of the artist, while the figures are in oriental clothes. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. At the bottom signed Cornienti and dated 1844; on the reverse writing attributing to Cherubino Cornienti. It is not possible to confirm this attribution to the important nineteenth-century painter, an exponent of Romanticism who produced portraits, historical scenes but also various religious subjects. The work presented here proposes the Gospel episode of the Resurrection of Lazarus, with an oriental setting suited to the subject. The restored and relined work is presented in a period frame.

Tempera on paper on etching. French school from about 1750-1770. Refined colouring of a coeval French print. The oriental subject is a young Chinese man who hints at some dance steps on an outdoor trail, under a plant of exotic fruit. The quality of the piece reminds of the French Rococo production, like those of François Boucher (1703-1770) or Jean Pillement (1728-1808), who both contributed to the spreading of the liking for Chinese representations in Europe. Pillement was the author of numerous drawings and etchings of Chinese taste, collected in two volumes (1767-71) and widely spread in Europe as models. The drawing needs cleaning and restoration. It is mounted on cardboard and comes with a 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 on canvas. This is a traditional depiction of the event of Jesus' death on the Cross, with his mother Mary and the beloved disciple at the foot of the Cross, contemplating the dying Christ; in the background the city of Jerusalem. Very essential in its depiction, and static in the positions of the evangelical figures, the scene emphasises the drama with a sombre background, although a light opens up high above Christ to announce divine participation in the event. The painting, which has already been retouched, shows some minor colour fading.

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. This is a small copy of Titian's work of the same name, created around 1532 and today preserved in the Louvre Museum. Originally it was thought that the work portrayed Alfonso d'Avalos, marquis of Vasto, bidding farewell to his wife before going to fight the Turks. Instead, it is more likely a prototype of a matrimonial allegory that enjoyed widespread success in Venice. The spouses are represented in the guise of Mars (in armour) and Venus, and are accompanied by Cupid, protector deity of love, who holds a bundle of arrows, by Vesta, goddess of the domestic hearth, crowned with myrtle, symbol of marital fidelity , and by Hymenaeus, divinity of weddings who offers a basket of fruit and flowers. The woman holds a crystal ball, as if she wanted to peer into the future. The melancholic expressions of the protagonists have been read as a reference to the possible death or departure of one of the two spouses. The painting is presented in a contemporary frame.