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39 cm 198 cm

55 cm 169 cm

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Painting Daniel in the Lion's Dem Oil on Canvas XVII Century
ARARPI0209156
Painting Daniel in the Lion's Dem Oil on Canvas XVII Century

ARARPI0209156
Painting Daniel in the Lion's Dem Oil on Canvas XVII Century

Oil painting on canvas. The biblical episode depicted refers to the story of Daniel, the prophet in the court of King Darius the Mede who, for having prayed to his God, was condemned to be thrown into the lions' den. But God saved Daniel, sending an angel to close the jaws of the beasts, and the king pardoned Daniel by instead condemning those who had denounced him. The subject has been depicted several times in art, for the fascination linked to history but also for its exotic flavor due to the presence of wild beasts; in particular we remember the version by Rubens of 1615, where the prophet is depicted naked in the underground pit, while he prays ardently, surrounded by a crowd of ferocious lions. The work presented here instead proposes a version centered on the dialogue between the prophet and the angel, who face each other, standing out with the vivid colors of their robes against the dark background of a prison; there is only one lion, meekly crouching at the angel's feet, and therefore the spiritual and salvific dimension of the biblical event prevails. According to the famous art historian Maurizio Marini, a specialist in the painting of Caravaggio and Baroque art, who had had the opportunity to view the painting years ago, the work could be attributable to Antonio Maria Vassallo (1620 -1664) for the compositional and chromatic choices. The painting, restored and relined, is presented with a listello frame.

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Antique Painting Jesus Christ and the Adulteress Flemish XVI Century
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ARARPI0235790
Antique Painting Jesus Christ and the Adulteress Flemish XVI Century

Flemish School, XVI Century

ARARPI0235790
Antique Painting Jesus Christ and the Adulteress Flemish XVI Century

Flemish School, XVI Century

Oil on wooden board. Flemish school of the 16th century. The work has a plaque at the base attributing it to Lambert Van Noort (1520 -1571), justified by the closeness to his pictorial methods which can be found in the faces of Jesus and Magdalene, but not confirmable for the other parts of the painting. The work recounts the episode from the Gospel of John in which the scribes and Pharisees brought a woman accused of adultery to Jesus, to test her observance of the law of Moses, which included stoning. But Jesus, bending down to the ground, began to write with his finger in the dust, then when urged, he pronounced the words "Let anyone among you who is without sin cast the first stone", saving the woman and subsequently forgiving her. The large stage is filled with a large and tight group of characters. Jesus in the centre, is the only figure bent on the ground, estranged from the rest of the group and fixed in his gesture of writing with one finger; standing behind him, with a precise vertical alignment of her face with that of Christ, is the accused woman, who covers her body with her cloak observing Jesus' gesture, while awaiting the sentence; all around the scribes, the Pharisees, some soldiers, who instead speak animatedly among themselves, are agitated, confronting each other, indicating what Jesus is doing. The subject was widely represented in Flemish painting, with different interpretative methods. If in this painting the Flemish school is clearly perceived in the faces with hard features and in the rather rigid bodies in the movements of the scribes and Pharisees, as well as in the representation of the building in the background and in the meticulous representation of the shoes in the right foreground, the two The figures of Jesus and the woman are instead affected by the Italian influence, which softened the features of the faces, gave the movements of the body greater composure and gracefulness, and with the help of a brighter color made them stand out among the other figures. The panel of the painting was subjected to restoration and relined in the first half of the 20th century. The painting is presented in an adapted antique frame.

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Antique Painting with Religious Subject Oil on Canvas XVIII Century
ARARPI0246411
Antique Painting with Religious Subject Oil on Canvas XVIII Century

ARARPI0246411
Antique Painting with Religious Subject Oil on Canvas XVIII Century

Oil painting on canvas. The biblical scene depicts the Holy Family with Mary sitting on the donkey, newborn Jesus in her arms and Joseph pulling the animal, as they flee from Nazareth, headed for Egypt, to escape Herod's persecution. Some little angels hover above them. The gazes of the angels, Joseph and Mary tenderly converge on the Child. In the background a Nordic landscape. Restored and relined, the painting is presented in a period frame.

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222.00€

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Ancient Painting '700-'800 Holy Subject Crucifixion Oil on Canvas
ARARPI0198571
Ancient Painting '700-'800 Holy Subject Crucifixion Oil on Canvas

ARARPI0198571
Ancient Painting '700-'800 Holy Subject Crucifixion Oil on Canvas

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.

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290.00€

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Antique Painting Religious Subject Oil on Canvas XVIII Century
ARARPI0229496
Antique Painting Religious Subject Oil on Canvas XVIII Century

ARARPI0229496
Antique Painting Religious Subject Oil on Canvas XVIII Century

Oil painting on canvas. The Madonna is depicted in glory, standing in the heavens and surrounded by little angels. The work, still on the first canvas, was applied on a modern stretcher: this fact, together with the incompleteness of the figure of Mary, suggests that the painting was part of a larger canvas. The painting is presented in a period frame.

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365.00€

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Adoration of Jesus Child Oil on Canvas Italy XVII Century
ARARPI0132216
Adoration of Jesus Child Oil on Canvas Italy XVII Century

ARARPI0132216
Adoration of Jesus Child Oil on Canvas Italy XVII Century

Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.

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Religious Subject Oil on Slate XVI-XVII Century
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ARARPI0160106
Religious Subject Oil on Slate XVI-XVII Century

ARARPI0160106
Religious Subject Oil on Slate XVI-XVII Century

Oil on slate. Painted on a thick slab of slate, the scene presents the dramatic moment in which Mary, surrounded by a group of pious women, weeps over the body of her Son taken down from the Cross: she abandons herself dramatically in the arms of the two women behind her, while at the her womb rests the inert body of the Son, on whose hand a third woman weeps; above, a group of angels who look out from the open skies, from which the divine Light springs, participate in the lamentation. Mary is the only figure who wears brightly colored clothes, which contrast with the waxy color of the body of Christ resting on her lap, while the other women wear clothes in dull colors, just as neutral are the bodies of the little angels. The figures are placed on a dark background, in which the opening of the sepulcher can hardly be seen: the chromatic effect is rendered thanks also to the pictorial base used, the slate, a stone also known as the "blackboard", as the most important slate quarries are located near the town of Lavagna in Liguria. The pictorial modality recalls the works of Pietro Mera known as the Flemish, a painter originally from Brussels who lived between the 16th and 17th centuries: active for a long time in Venice, working from 1570 to 1603 in the service of Cardinal d'Este, Mera made extensive use slate as a pictorial support for some of his works. The material with its characteristic dark color allowed the artist to create intense luministic contrasts and to emphasize the figures, depicted with a bright chromatic range and illuminated by brilliant touches of light. In good condition, the painting is presented in an antique frame.

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Antique Painting F. Mazzucchi Virgin Mary with Child XIX Century
ARAROT0222548
Antique Painting F. Mazzucchi Virgin Mary with Child XIX Century

Madonna with Child

ARAROT0222548
Antique Painting F. Mazzucchi Virgin Mary with Child XIX Century

Madonna with Child

Oil on hardboard. Signed lower right. Francesco Mazzucchi, an artist originally from the Pavia area and active in Lombardy, dedicated himself mainly to sacred art, leaving his works in some churches in the Vigevano area. Proposed here is this delicate and tender depiction of the Madonna with Child, in the colors and scene, which sees mother and son in a moment of domestic intimacy, intent on playing with the pigeons in the garden. In frame.

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130.00€

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Antique Painting with The Announcement Oil on Hardboard Italy 500
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ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

ARARPI0197090
Antique Painting with The Announcement Oil on Hardboard Italy 500

Oil on wooden board. Central Italian school of the second half of the 16th century. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior that corresponds to Mary's room. The young woman is sitting in front of a small wooden desk, supported by figures of angels, on which rests the prayer book and a vase with small flowers; at her feet, the sewing basket. Mary's body is partially turned backwards, in a twisted movement, almost as if she were trying to escape, as if she wanted to get away from the other figure, that of the Archangel Gabriel. He stands on the right, majestic and elegant, with one hand holding a lily and the other pointing upwards above him, where the white dove, symbol of the Holy Spirit, is emerging from a gap of light. In the background, tall columns with drapes surmount the platform on which Mary's bed rests. The composition refers, in the figurative style and in the chromatic choices, to the already mannerist painting of the schools of central Italy: in particular there is a strong concordance of style and composition with some works of the same subject by the painter Bastiano Vini Detto Bastiano Veronese (1525-1530 / 1602), who lived and worked in Pistoia from around 1540. It is in this city that some of his Annunciations are found: in particular the one in the Church of Santa Maria delle Grazie (an altarpiece measuring over two meters in height), shows clear similarities on a formal and compositional level with the one presented here . There is concordance in the setting of the sacred scene: a room, in the background of which is a curtain that partially covers a bed, furnished with the elements essential to the narrative, the lectern and the chair richly decorated with caryatids of cherubs or angels that seem to be carved in the wood. The compositional scheme corresponds, albeit with slight variations, with the two figures arranged "frieze-like" on the same laying plane, and the somatic features of the Virgin and the Archangel also correspond. However, the floor differs, which, while it is homogeneous in our table, in the Pistoia one presents itself with alternating checkerboard colors, but it seems that this design of the floor was added in a later period, on the occasion of the reconstruction of the altar in 1637 -1639, in pendant with that of another work by the same Sebastiano Vini in the same church, a Sacred Conversation. It therefore seems rather certain that our panel was painted looking at the work of Bastiano Veronese, probably at the specific request of the client, and before the change in the floor, therefore dating back to the second half of the 16th century. The painting has undergone restoration, with the application of two reinforcements to the back of the panel. It is presented in a late 19th century setting. (Reference for the Pistoia altarpiece: Catalog of cultural heritage https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900035285)

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Antique Painting with the Holy Family Oil on Canvas '600
ARARPI0224075
Antique Painting with the Holy Family Oil on Canvas '600

ARARPI0224075
Antique Painting with the Holy Family Oil on Canvas '600

Oil painting on canvas. Central Italian school of the 17th century. The unusual and particular representation presents on the left the three figures of the Holy Family, with Jesus already a child, sitting at the table and blessing the simple meal they are about to consume (consisting of fruit and bread); the scene, a subject depicted rather rarely and generally with a more sacred character due to the presence of angels serving food to the family, here instead has the flavor of very normal and simple domestic intimacy. Instead, everything around the Holy Family stands out majestically, the glimpse of a Renaissance city, with tall buildings with loggias and colonnades, presented according to a beautiful perspective effect which leads, at the bottom on the right, to the entrance walls of a richly turreted city, probably Jerusalem. Restored and relined, the painting is presented in a late 19th century frame.

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Antique Painting with Religious Subject Oil on Canvas XVII Century
ARARPI0245642
Antique Painting with Religious Subject Oil on Canvas XVII Century

ARARPI0245642
Antique Painting with Religious Subject Oil on Canvas XVII Century

Oil painting on canvas. The Madonna holds the Baby Jesus in her arms, and both hold the rosary crown, an invitation to Marian devotion. Above, angels appear from the open skies. The painting has previously been restored and relined; some small drops of color along the edges. It is presented in a contemporary frame.

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390.00€

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Antique Stained Glass Window Religious Subject Painted Glass '800
ARARNO0194914
Antique Stained Glass Window Religious Subject Painted Glass '800

Thomas's Disbelief

ARARNO0194914
Antique Stained Glass Window Religious Subject Painted Glass '800

Thomas's Disbelief

Stained glass window, with hand painted polychrome glass. The scene from the Gospel is depicted in which Saint Thomas, after having doubted his Resurrection announced by the other disciples, recognizes Jesus who appears to him and asks him to touch his wounds on the Cross with his hand. The work has some slight breaks and some original glasses are missing, which have been replaced. It is mounted in a recent frame.

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100.00€

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Antique Painting The Virgin Mary of St. Jerome Oil on Canvas '600
ARARPI0221741
Antique Painting The Virgin Mary of St. Jerome Oil on Canvas '600

ARARPI0221741
Antique Painting The Virgin Mary of St. Jerome Oil on Canvas '600

Oil painting on canvas. Emilian school of the 17th-18th century. This is an ancient copy of the famous panel painting by Correggio, entitled The Madonna of San Girolamo or Il Giorno, dating back to around 1528 and preserved today in the National Gallery of Parma. The subject of the representation is Saint Jerome's presentation to Jesus of the translation of the Bible from Hebrew into popular Latin, a work carried out by the saint at the request of Pope Damasus and which he accomplished by locking himself up in solitude in the Bethlehem cave. In the painting, the centrality of the scene is occupied by Mary sitting with the Baby Jesus in her arms. Various figures are composed around them in a semicircle. On the left is the powerful figure of old Jerome standing, looking at the Child, while clutching the translation scroll in his hand, with the lion, his hermit companion, crouched at his feet. On the same side, an angel holds the Bible while smilingly addressing the Madonna and Child. On the other side, Magdalene lies semi-reclining, affectionately embracing the baby's foot, who in turn caresses her hair, in an intimate gesture that underlines the intense bond between the two figures. Behind Magdalene, a little angel wrinkles his nose sniffing the penitent saint's jar of ointments. The scene is placed under a red curtain, open onto a large landscape. Correggio's painting was widely successful, so much so that numerous copies and ancient replicas exist, including this one presented here. The work, restored and relined, is presented in an ancient contemporary frame.

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Antique Painting with Religious Subject Oil on Canvas XVII Century
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ARARPI0247743
Antique Painting with Religious Subject Oil on Canvas XVII Century

ARARPI0247743
Antique Painting with Religious Subject Oil on Canvas XVII Century

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.

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687.00€

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Antique Painting with Religious Subject Tempera on Wooden Board '600
ARARPI0240149
Antique Painting with Religious Subject Tempera on Wooden Board '600

ARARPI0240149
Antique Painting with Religious Subject Tempera on Wooden Board '600

Tempera and oil on panel. Venetian-Cretan school of the 17th-18th century. The term Venetian-Cretan School (or Creto-Venetian) indicates an important pictorial school, also known as the Post-Byzantine school, a movement that flourished on the island of Crete under the control of the Serenissima of Venice between 1204 and 1669. Thanks to the political situation, particularly after the fall of Constantinople, Crete became the main Christian artistic center of Greek origin from the fifteenth to the seventeenth century. In this environment a particular pictorial style developed which was marked by tradition and movements of both Byzantine and Latin origin. In particular, given the important demand for Byzantine icons in Europe, the island soon became a center of production of these works of art. The style of the Byzantine icon is found in this work, which proposes a subject widely re-proposed in art, namely the Adoration of the Shepherds at the birth of Jesus: the figures of the Holy Family and the Shepherds are strongly attributable to the traditional Byzantine iconographic representation , but they are placed in a more Latin landscape, which opens wide, with a depth of perspective that refers to seventeenth-century European landscape painting, without the traditional gold background but with chromatic choices that still recall the divine golden light, in particular where an angel announcing the Glory of God looks out from the open heavens. The painting has a detachment of the paint in the central part, corresponding to a previous restoration, which requires further recovery. On the back of the plate there is a sealing wax stamp. The painting is presented in an antique wooden frame.

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360.00€

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Religious Subject Oil on Canvas Italy XVII Century
ARARPI0180781
Religious Subject Oil on Canvas Italy XVII Century

Reduced version from an altarpiece by Girolamo Mazzola Bedoli

ARARPI0180781
Religious Subject Oil on Canvas Italy XVII Century

Reduced version from an altarpiece by Girolamo Mazzola Bedoli

Oil painting on canvas. Venetian school of the seventeenth century. Entirely in the foreground, this scene of a group of sacred figures, which presents the faces of Mary and the Child Jesus in the centre, surrounded by the young San Giovanni in the lower left, and three angels forming a crown around. All the characters are happy and smiling, despite the reference to passion given by the stick surmounted by the Cross which John offers to Jesus. The movement of the bodies and the bright colors make the scene come alive. The painting is still on the first canvas, with no signs of previous restoration. There are several drops of color, spread above all along the lower margin and the two sides. It is presented in an antique lacquered wooden frame.

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Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century
ARARPI0153881
Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century

Rest on the Flight into Egypt

ARARPI0153881
Rest on the Flight into Egypt Oil on Canvas XVIII-XIX Century

Rest on the Flight into Egypt

Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

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582.00€

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Antique Painting with Religious Subject Oil on Canvas XVII Century
ARARPI0224942
Antique Painting with Religious Subject Oil on Canvas XVII Century

Disciple of Peter Paul Rubens

ARARPI0224942
Antique Painting with Religious Subject Oil on Canvas XVII Century

Disciple of Peter Paul Rubens

Oil on canvas. The painting derives from the work by Rubens (1577 -1640) conserved in the Prado Museum in Madrid, reproduced as a counterpart in engraving by Paulus Pontius (1603 -1658), as also appears in this version. Occupying the vertical centre of the scene is the figure of Mary, whose face was inspired by that of Isabel Brandt, the Flemish painter's first wife, who died in1626 at the age of just 35. The Madonna holds the Child Jesus in her arms, who looks tenderly but seriously into her eyes, while a small hand rests on his mother's uncovered breast, from which he has just received nourishment; behind, standing, St. Anne wraps the shoulders of her daughter and grandson in a tender and protective embrace, smiling complacently: On the left side, somewhat separated and in the dark, Joseph watches pensively and worriedly: the only human figure who does not fit into the light emanating from the Child's face, radiating on Mary's and, by reflection, also on St. Anne's. Compared to the master's work, the composition of the figures is respected, but several details vary, particularly in the clothing of St. Anne, Mary, and the drapery that encircles the Child's hips, supporting the hypothesis that it is the work of a follower of the Flemish master. The painting, restored and re-tinted, is in good condition, with only a scratch in the colour in the top centre.

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Ancient Painting '600-'700 The Preaching of St. John Canvas
ARARPI0220299
Ancient Painting '600-'700 The Preaching of St. John Canvas

ARARPI0220299
Ancient Painting '600-'700 The Preaching of St. John Canvas

Oil painting on canvas. Flemish school of the 17th-18th centuries. The large scene takes place in a vast Nordic landscape, within a forest full of twisted plants, and on the right a city surmounted by rocky peaks. Inside the woods a large group of figures, popular but also high-ranking figures, all in oriental clothes, who form a circle around John the Baptist, portrayed in his traditional iconographic costume (dressed in skins, with the staff surmounted by the Cross and wrapped in the scroll, a little lamb at his feet): John's gaze is turned upwards, in line with a bird flying above the treetops, a symbolic representation of the Holy Spirit who inspires the preacher's words. Restored and relined, the painting is presented in a late 19th - early 20th century frame.

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Antique Painting with Religious Subject Oil on Canvas XVIII Century
ARARPI0240148
Antique Painting with Religious Subject Oil on Canvas XVIII Century

ARARPI0240148
Antique Painting with Religious Subject Oil on Canvas XVIII Century

Oil painting on canvas. Italian school of the 18th century. The painting depicts the death of Saint Joseph which, according to the apocryphal gospels, occurred assisted by Mary and Jesus: the dying man lies in fact in his bed of agony, supported affectionately by his putative son Jesus and his wife Mary, while several angels assist, both at the foot of the bed, or from above where the heavens already open to welcome the soul of the saint. Joseph's is considered the most desirable and peaceful form of death, of old age, in one's bed and surrounded by one's loved ones, and for this reason the Saint is considered the patron saint of the dying and of sweet death. Restored and relined, the painting is presented with a frame.

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482.00€

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