Art

Ancient painting

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18 cm 226 cm

17 cm 245 cm

1 cm 9 cm

33 cm 52 cm
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Art

Ancient painting

Landscapes, still lifes, portraits, figures, religious subjects, views of Italian and international artists: in this section all the works of Painting available in our catalogue.

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Portrait of Eleonora Lampugnani
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ARARPI0097145

Portrait of Eleonora Lampugnani

ARARPI0097145

Portrait of Eleonora Lampugnani

Oil painting on canvas. Lombard school. The rich lady portrayed is accompanied by the identifying inscription at the top right which reads "Eleonora Lampuniana Nupta N.V. Bartolomei De Cornu 1478": it is therefore Eleonora Lampugnani wife of Bartolomeo Del Corno. The Lampugnani family is an ancient patrician family of Milan (the name derives from the Lampugnano district), with residences in Legnano and Busto Arsizio, and to which Filippo Maria Visconti (Duke of Milan) assigned the fief of Trecate in the fifteenth century; the noblewoman's husband instead belonged to the noble Piedmontese family Corno (originally called Del Corno). The noblewoman is portrayed standing, in a splendid dress richly embroidered and embellished with lace; it rests its hand on a precious box inlaid in ivory, probably a coin cabinet, a symbol of wealth and power, surmounted by a vase with flowers, rather a symbol of vanity. The painting has an ancient restoration on the hands, which are of lower quality than that of the face, the clothes, the glass jar. The painting comes from an ancient Lombard collection. The date 1478 reported with the inscription, is not very consonant with the sixteenth-century clothing: according to the story of the family of origin of the painting, the date that appeared before the last restoration was 1578, and therefore it would be a modification made mistakenly by the restorer.

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Cain And Abel Oil On Canvas 17th Century
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ARARPI0097956

Cain And Abel Oil On Canvas 17th Century

ARARPI0097956

Cain And Abel Oil On Canvas 17th Century

Oil on canvas. Central-Italian school. Of great scenic impact, the painting tells the episode of the Book of Genesis whose protagonists are the brothers Cain and Abel, the first sons of Adam and Eve and therefore the first born from human loins. Cain, a farmer, since God had refused the fruits of his harvest in favour of the lambs sacrificed by the shepherd Abel, kills his brother. The two thus became respectively the first man to be born and the first to die, as well as the first martyr in sacred history. They are also considered as the archetype of fratricide: their story has been widely told in literature and pictorial art mainly in this capacity. In the painting proposed here, which depicts the culminating and tragic moment of the killing, the two figures fill up the scene, like two contrasting figures: Cain is standing, with dark skin and hair, a grim look, animated by intense heat as he raises his club ready to strike; Abel is on the ground, vainly trying to protect himself, pale in his already mortal complexion, his eyes wide open in an expression of terror. The particular effectiveness of the faces, especially Abel's in the skilful perspective, refers to the work of Giuseppe Diamantini (1621-1705). Between the two bodies, the light of the bonfire shines, which refers to the sacrificial pyre further back on the left, from which an intense fire blazes, a symbol of the divine presence from which the act of Cain can not escape. The rendering of the draperies that follow the movements of the bodies is also effective. Restored and relined, the painting is presented in a decorated frame in style.

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Ferdinando Porta Oil On Canvas Mid '700
ARARPI0086960

Ferdinando Porta Oil On Canvas Mid '700

Rest During The Flight Into Egypt

ARARPI0086960

Ferdinando Porta Oil On Canvas Mid '700

Rest During The Flight Into Egypt

Oil on canvas. Attribution to Ferdinando Porta on the back. The scene depicts the moment of rest of the Sacred Family, during the flight into Egypt: on the left, sitting on the ground, are Mary reading and Jesus, already a boy, but still childishly abandoned on His Mother's lap; on the right, Joseph is standing, even if he's leaning on a rock on the back, looking at his family. On the top, over the cloud that envelops the tree full of fruits that has given rest to the family, there is a host of angels, presented not only as children, but also as boys, almost as to accompany the growth of Jesus. The composition of the scene, as well as the kind of representation of the figures and the tones, are fitting to the pictorial modes of Ferdinando Porta. The Milanese painter, son of Andrea Porta, an artist with an imprint from Emilia, established himself on the Lombardy artistic scene after studying in Bologna, where he was one of the students of Carlo Cignani. The part of his production known today unfortunately only starts from the fourth decade of the '700, because his previous documented work, for Milanese churches and for Palazzo Casati Dugnani, has been lost. His later work is known, some important commissions helped him to definitely establish himself, between 1741 and 1753 he worked in the Basilica di S.Ambrogio in Milan, in the Duomo di Monza and in the Cathedral of Vigevano, realizing pieces that contributed to define the character and the range of the pictorial modes of Porta: solidly linked to Lombard figurative tradition, after the initial influence from Emilia, he introduced new manners in his painting that are influenced by Venetian painting, in particular by Tiepolo, with whom he had worked, for the vigorous plasticity of the figures and the naturalistic characterization of the allegoric or sacred themes. Observing one of his latest pieces, considered one of his best, the altarpiece of the Baptism of Christ, realized by Porta between 1753 and 1754 for the Duomo of Vigevano, compositional and chromatic manners close to the ones of our Rest during the flight into Egypt can be found there: the figures are well defined plastically, but they are shaded on the outlines with chromatic contrasts in which brown and cold tones prevail, like in the group composed of Mary and Jesus, while the isolated brightness of Joseph's vest stands out; on the top, the composition of angels, complex in the intertwining of the bodies, not defined but almost fading, like the landscape, bare and devoid of connotative elements. These are all elements that well highlights the ties of Porta with the 17th century Lombard tradition, that earned him a wide consensus and fortune with both the private and public commissioners in Milan and nearby cities, in a moment when neoclassicism was becoming more popular. The painting, in its original canvas but retensioned, shows some signs of restoration. It is presented in a frame in style.

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Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600
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ARARPI0094654

Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600

Flowers Garland With Annunciation To The Shepherds

ARARPI0094654

Attributed To Francesco Mantovano Oil On Canvas Second Quarter 1600

Flowers Garland With Annunciation To The Shepherds

Oil on canvas. Refined quality and in excellent condition, the painting depicts a garland of colourful flowers that frames the Gospel scene of the Annunciation to the shepherds. The piece is accompanied by the expertise of Dr Gianluca Bocchi, who attributes it to the production of Francesco Caldei, known as the Mantovano from the name of his hometown. The Mantovano studied arts on Rome, where he stayed between 1613 and 1625, acquiring an education as a flower painter. His production consists, in fact, mainly of vases with flowers. He later moved to Venice, where he stayed until his death. The Mantovano imported the Roman pictorial canons into the city, in particular the taste for botanical representation, but also for the type of garland, that the Roman artists had drawn from the Flemish tradition. The production of garlands included a representation of figure scenes, with mythological or sacred subjects, often produced with figure painters, to whom the Mantovano did not disdain to resort. The scene of the Annunciation to the shepherds of this painting refers quite faithfully to the homonymous piece by Jacopo da Bassano (1515-1592), whose bucolic production was so successful that it was proposed again in numerous copies by his own sons and in many engravings circulating throughout Europe, who allowed other artists to draw inspiration from them, as the Mantovano probably did himself. It can therefore be concluded that the piece presented here is a painting by Francesco Mantovano realized in Venice around 1640-1650. The painting has been relined in antique. It is presented in a frame from the 18th century, adapted and gilded again. On the back, there are labels that document the passage of the piece on the French market of the 19th century.

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Giovanni Baglione, attributed to
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ARARPI0087707

Giovanni Baglione, attributed to

Herodias receives the head of the Baptist

ARARPI0087707

Giovanni Baglione, attributed to

Herodias receives the head of the Baptist

Oil painting on canvas. Inspired by the Gospel accounts of the life of John the Baptist, the scene depicts Queen Herodias receiving the preacher's head on a plate, which her daughter Salomé had requested from Herod in exchange for her dance. Herodias is depicted here in all her royalty, with the crown and the scepter, dressed in clothes and jewels, but with an aloof and indifferent expression, almost bored, even in front of the macabre spectacle, while making the gesture of disdainfully pushing away the trophy that a servant is handing her on a platter. The work, already auctioned by Dorotheum in 2008, was published and well described in the text "Art history studies in honor of Fabrizio Lemme", published in 2017, in the chapter by Michele Nicolaci (historian of expert art of seventeenth-century painting), which presents it as an unpublished painting by Giovanni Baglione. He was a Roman artist and writer, known above all for having written "The lives of painters, sculptors and architects from the pontificate of Gregory XIII of 1572 up to the time of Pope Urban Eighth" in 1642, the first published collection of artist biographies in 17th century Rome. His writing "The nine churches of Rome", published in 1639, is also of considerable importance. His pictorial activity took place between Rome and Naples; initially of a late mannerist style, when he met Caravaggio, he adapted to his style almost reaching imitation, so much so as to arouse the indignation of Merisi and his derision, as well as the scarce consideration of his Roman colleagues; isolated and insulted, Baglione then returned to his own personal style, but he was nevertheless able to achieve good success in Roman high society, thanks also to his ability to gain favor with the powerful and reinvent himself as a man of letters in the Barberini court. His stylistic turning point with the return to a mannerist approach took place around 1630 and was defined in a production characterized by compositional forcing and almost caricatured characters. This Herodias can also be placed in this period: although in the redundant and excessive, almost ironic way of portraying the character, this work does not lack elegance, in the theatrical pose of the woman, but also of the servant, in the skilful game of contrasts. chromatic (in the dress of the queen, but also in the differences between the incarnates), in the overabundance of clothes and jewels. The canvas has been restored and relined. It is presented in a gilded frame from the late 19th century. Publication attached to the painting.

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Camillo Procaccini, area of
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ARARPI0076629

Camillo Procaccini, area of

Adoration of the Shepherds

ARARPI0076629

Camillo Procaccini, area of

Adoration of the Shepherds

Oil painting on canvas. The scene of adoration develops around the centrality of the Holy Family, towards which various shepherds and shepherdesses converge, with flutes, sheep, dogs; among them also, in the upper left, another family arriving on a donkey's back, almost an anticipation of the flight into Egypt; at the top right, outside the building, you can see an angel announcing the birth to other shepherds. The work, of beautiful quality, is identical in subject to the painting preserved in the Civic Museums of Pavia, donated to the city in 1838 by the legate Malaspina and also referred to the area of Camillo Procaccini. Ours is also almost identical in size to the twin of Pavia, if not for a few more centimeters attributable to the increase in the size of the frame being restored, which involved the need for a "stretching" of the canvas along it. the edge, as evidenced by an edge analysis. This analogy of subject and size, as well as the same temporal location, argue in favor of the two paintings belonging to the same workshop. Both, however, refer to the "Adoration of the shepherds" of sure autograph by Camillo Procaccini, one of the most vivid of his production, preserved in the church of Sant'Alessandria in Zebedia in Milan, which although with an evident difference in the more vertical development and in the arrangement of the figures, has the same scenic setting and the same way of making the other two twin canvases. The compositional equality of the central group of the Holy Family stands out above all, as well as the same identity of some characters, such as the shepherd boy with the dog in the lower left corner, but also the face of a flute player, that in the background on the right in the twin works with the one almost hidden on the left in the work of S. Alessandro. In the work proposed here as in the twin of Pavia, the evident realism of the scene that details the roles of the characters, the intense plasticity of each figure, never static even when it is still and intertwined with the others in a game of overlapping and color contrasts , the background scenes for didactic purposes, are well placed in Procaccini's adhesion to the Counter-Reformation program promoted by Cardinal Borromeo in Milan, where the Parma artist lived and worked for a long time. The painting has been previously restored and relined.

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