Antique Painting H. Robinson Hall Highland Cattle Loch Venachar '800 - Highland Cattle Loch Venachar

Courtship at the Well 1873

Oil on canvas. Signed and dated lower right. Haier was a Viennese painter and photographer, but lived for a long time in the Czech Republic. His pictorial production includes portraits and many genre scenes, set like this one in the Czech rural environment. We have a seller of jars, transported on the back of his donkey, who entertains himself at a well in amorous conversation with a girl, who in the meantime offers a tuft of grass to the docile beast. The painting is presented in a period frame.

Oil on canvas. This is a copy of the famous work by Raffaello Sanzio (1483 -1520), created by the artist from Urbino in 1513-1514 and currently preserved in the Palatine Gallery of Palazzo Pitti in Florence. The figures, inscribed in a tondo as in the original work, are made up of Mary, sitting on a rich chair, Baby Jesus in her arms, and Saint John at her side; while the Mother and Child look forward - Mary directly towards the viewer, Jesus a little further away -, little John emerges from the dark background and addresses a prayerful gesture to Mary. The chair on which Mary sits is a Camerale chair, or one of the Pope's privileged seats, a strong symbol of authority in doctrine and certain teaching, attributes of Mary: She is the Mother of God who sits in the cathedra. The color of Jesus' robe is particular, a central yellow spot that refers to the robe of the "Servant", a warning for the Pope who commissioned the original work. The work is presented in a period frame.

Landscape with Hunters on Horseback 1852

Oil on canvas. Signed and dated lower right. This landscape has a suggestive atmosphere where desolate earthy hills prelude to higher peaks, fading into the distance; popular figures are included in this landscape, in particular three horsemen, probably hunters for the dogs that flank them, galloping along the path, while wayfarers on foot, women and children, give way to them. Standing out above all, filling the entire upper half of the work, is a leaden sky, full of grey clouds: the shades of grey above and the golden ochres of the earth below, define the favourite palette of this multifaceted Belgian artist, who in his pictorial production mainly created landscapes of the Ardennes. The painting was auctioned by Christie's in 2004, with an estimate of €3000.

Oil painting on canvas. Central European school of the early 1900s. This is a copy of the famous painting created around 1880 by Carl Ludwig Friedrich Becker (1820 -1900) and sold at auction at Sotheby's in New York in 1999. At the bottom right there is the writing Becker to imitate or refer to the original. In the scene the Moor of Venice is telling Desdemona and the Doge his adventures as captain of the Venetian fleet.

The Spinner 1897

Oil on canvas, applied to panel. signed and dated lower left. In the foreground a young woman is portrayed intent on spinning, inside a simple room. This type of portrait of popular figures, of a realist nature, characterized the artistic production of the Belgian painter Oscar Halle, who also produced outdoor scenes, always animated by figures. The painting is presented in a period frame.

Oil painting on canvas. The composition features mixed fruit - grapes, apples, medlars, figs - placed on a cloth together with some mushrooms and some pink peonies. The colors stand out against the dark background. The painting is presented in an adapted style frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in fact, two figures stand out in the foreground, a man who is fishing with a line and a net, and a woman who looks at him sitting on a rock overlooking on the water, anxious about the outcome of the fishing, which will presumably guarantee the couple's meal. The surrounding landscape is that of a rocky coastal stretch, in a sea inlet overlooking a town on the other shore; a boat sails in the sea, of another you can only see the flagpole behind the rock. Restored and relined, the painting is presented in a period frame, with several defects.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Oil on canvas. Lombard school of the 17th century. On the first canvas and mounted on the original frame. Set in a prison, the scene shows Saint Ambrose the bishop directing the person on his right, a soldier with a cross around his neck, towards the sky. He can be identified as Saint Victor, a Roman soldier originally from Mauritania, who served in Milan at the time of Maximian and was martyred for his Christian faith. It was the bishop of Milan who recounted the life and martyrdom of the saint in one of his writings and who spread his cult. On the left, another probable martyr of the faith, who witnesses the proclamation of the beatitude of his cellmate; around, numerous other figures of condemned men. The octagonal painting probably belongs to a series dedicated to the cult of the Holy Bishop of Milan. The canvas requires restoration and cleaning, presenting several stains and cuts (a tear in the centre, other smaller ones on the sides).

Oil on canvas. The painting is inspired by the pictorial methods of Francesco Foschi (1710 -1780), an artist who specialized in landscapes and who widely spread the taste for winter landscapes. In this painting we have a glimpse of a mountain landscape, with a village located in a valley beneath rocky and snow-capped peaks. Even the houses and meadows are sprinkled with snow, which is absent on the path traveled by numerous figures; the pink atmosphere of the sky evokes the beginning of a new day, already fervent with activity. The painting has been restored and relined. It is presented in a mid-20th century frame.