Christ Blessing Oil on Canvas Italian School 17th Century

Oil on canvas. Italian School. Jesus Christ blessing is represented half-lenght following the tradition and can be recognized by his right hand in the act of blessing: three finger joined to symbolize the Trinity while the others two represent Christ's human and divine nature. His left hand that sometimes blesses here is holding the book of Holy Scriptures, symbol of the divine Reveal, and the terrestrial globe, symbol of his role of Salvator Mundi. Christ's painful face participates to human suffering and here it stand out surrounded by light that underlines his divine nature. Ancient sealing wax on the back that indicates its belonging to a collection. Presented in an ancient frame.

Leonardo's Last Supper

Textile Reproduction

Textile reproduction in silk, in two colors. Made to a design by T. Strazza, as shown below on the left. The faithful reproduction of Leonardo's painting is part of a flourishing Lombard manufacturing production, which re-proposed the masterpiece in different formats. The work is presented in a contemporary wooden frame.

Sketch for the Glass Window by Aligi Sassu St. Ambrose 20th Century

Sant'ambrogio

Original oil painting on cardboard for the preparation of the stained glass window of the church of Viggiù (Varese), for which the master Aligi Sassu made many works. This painting comes with expertise on picture signed by Alessandro Grassi, master glassmaker who collaborated with many Italian and foreign architects and artists and realized the final work in collaboration with the artist. The painting depicts St. Ambrose - patron Saint of Milan - in the act of denying the entry into the church to the emperor Theodosius I, who was guilty of many crimes even though he was a Christian. In frame. 20th century.

The Flight Into Egypt Oil On Canvas 18th Century

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture - he is putting a hand on her knee-, while he is talking with the Angel who is showing them the way. Relined, the painting has some paint losses that need restoration. It is in an adapted frame, from the late '800 - early '900.

The Nativity

Oil painting on canvas. North-Italy school. Traditional depiction of the birth of Jesus, in the dark stable, where the colors of the garments and the incarnates of the figures stand out, illuminated by the only source of light coming from the Baby Jesus. At the top right there is the coat of arms of the client family. On the first canvas,

Fragment of Embroidery on Fabric of the 18th century

Embroidery on fabric. The largest fragment of the scene represents the birth of John the Baptist, with his father Zacharias sitting in the corner writing the name to be attributed to his son, while his mother Elisabetta watches over from the puerperal bed the care given to the child by her servants. The fabric has holes and tears. In a stylish frame.

Praying Madonna

Oil painting on canvas. Monogram at the bottom. On the back at the top of the frame there is the name of the author, an amateur painter, with the date of realization, the dedication to a friend and the reference of inspiration, a Madonna by Luca della Robbia. In fair condition, the painting is presented in a gilded frame from the end of the 19th century.

Crucified Christ between S. Carlo Borromeo and S. Francesco

Oil painting on canvas. The Cross stands central and stretches upwards, illuminated by the light that comes from the gash of the heavens, where angels witness the Passion and Death of Jesus; at the foot of the Cross, in contemplation, the two great saints; a barren landscape can be glimpsed in the dark background. The canvas has various damages and signs of wear, and is in need of restoration. It is presented in a contemporary frame.

Lamentation over Dead Christ Underglass Painting 18th Century

Under glass painting. A traditional "Pietà", sacred subject that emphatizes the mournful maternity of the Virgin. Displayed with style frame.

Santa Parasceve

Russian icon

Tempera on wood, richly decorated with strings of beads, semi-precious stones and metals. The holy martyr Parasceve (whose name from the Greek means "preparation", with reference to Easter and in Slavic to Friday, thus linking the young martyr to Good Friday and the Passion of Christ). was born in the 2nd century AD. in a village near Rome and, receiving a Christian education from his parents, he devoted himself from his youth to reading the Holy Scriptures and meditating on the divine Word, leading many to faith in Christ. Around the year 140, she was arrested and invited to worship pagan idols, but she refused and therefore suffered the martyrdom of beheading, after numerous tortures. The icon is presented with an internal frame in embossed brass foil and an external frame from the early 1900s.

Bartolomeo Litterini attributed to

Adoration of the Shepherds

Oil painting on canvas. "A warm atmosphere and an amber light welcome the story of the Adoration of the shepherds. Placed in the humble manger full of straw, on white and humble cloths, Jesus receives the homage of the simple, of three shepherds who kneel before him bringing rural gifts. Mary stands out in the center, behind the Holy Child, she alone dressed in red and blue; she emerges on all the figures that surround her, characterized by gray dresses and low tones, earthy but also warmed by that supernatural light that floods the stable of Bethlehem. So it is for St. Joseph, the only upright figure, placed behind the Virgin, with a confident gaze turned to the sky, while angels and cherubs who have just come down from paradise crown him "(Dr. Giuseppe Sava) . From the expertise of Dr. Giuseppe Sava, the painting can be placed in the Venetian context of the late Baroque period: in particular, the personality of Bartolomeo Litterini, a lesser-known Venetian artist of that period, is found in it. We find in our work that organic and meditated constructive system - and clearly visible in works of the same subject of certain attribution -, typical of Litterini, which he used to lighten by alternating the solemn immobility of the central figures with a concrete search for reality and with the gaiety of the little angels suspended on the clouds, often in reckless poses. Restored and relined, the painting is presented in a period frame. The rich and complete attribution card of Dr. Giuseppe Sava is attached.

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.

The Holy Family

Engraving from the end of the 19th century, from a painting by Raffaello Sanzio. It is presented in a beautiful coeval wooden frame, with an internal strip in wood-colored plaster.

Saint Francis Oil on Canvas Center-Italian School 18th Century

Oil on canvas. Center-Italian School. The Saitn from Assisi is represented while contemplating the Crucifix as he was traditionally portraited, itinerant in the Umbrian countryside. The painting had already been restored but need to be clean. Displayed in an ancient frame.

Virgin In Prayer Oil On Canvas Early '800

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Copy From Tiziano Vecellio, Oil On Canvas 17th Century

Mater Dolorosa

Oil on canvas. Copy of a subject realized by Tiziano, who completed three different autograph copies, each one different from the other for the pose of the Virgin: 1. Mater Dolorosa, with open hands (oil on marble, at the Museo del Prado in Madrid); 2 Mater Dolorosa with folded hands (oil on panel at the Museo Cerralbo in Madrid); 3. Mater Dolorosa with folded hands (oil on panel, auctioned in New York on 06/04/2006). This pieces dates back to mid 16th century, but there are more later variants, attributed to the Venetian artist and his atelier. It is well known that Tiziano would introduce small variations even in his autograph copies to reinforce the autenticity effect. This copy, dating back to the following century, is still of the highest execution quality, There is a monogram on the back (in an affixed space on the canvas) that is probably the artist's signature. The painting, restored and recanvased, is presented in an antique frame.

The drawings of Giovanni Antonio Sasso

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Penitent Magdalene Oil on Canvas Flemish School 17th Century

Oil on canvas. Flemish School. Magdalene is represented with her iconographical symbols: in the desert, half-dressed and with her hair down, with the book of Holy Scriptures and in an attitude of ecstasy; next to her there is a skull, symbol of " momento mori", that recalls to the transience of life. Restored and displayed in a frame made with readjusted old woods.

Face of The Virgin Oil on Plywood 1930s

Oil on plywood. The painting recalls the Renaissance's techniques. At the bottom left there is a monograme. It comes in a coeval perchment covered frame.