Madonna with Child Oil on Board 19th Century

Oil on board. Good quality, the tondo shows evident connections to the painting technique of 1500s typical of Emilia Romagna, but it was actually made later during the late 1800s. Mary is lovely focused on Baby Jesus on her lap and she is looking at him. The Baby is looking in front of him and is holding a small ball, symbol of the world. In frame.

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.

-Christ Carrying The Cross Oil On Copper 17th 18th Century

Oil on copper. Christ, crowned with thorns, embraces the cross he is obligated to carry on the ascent to Calvary. The painting, with some signs of previous restorations, is presented with a style frame.

Ecce Homo Oil on Board Italian school 16th Century

Oil on board. Italian School. Christ is rapresented with a painfull face and wearing a red cape while is being mocked during his Passion. Everithing was rendered with efficacy and pathos. Signe of restoration works on the back but still there are some damages on the board ( missing parts along the edges) Displayed in frame.

Scope Of Francesco Albani Oil On Copper 17th Century

Virgin In Prayer

Oil on oval copper. Unfortunately marked with many small paint losses, but it is still an intense representation of the Virgin in ecstatic contemplation. It is displayed on a red cloth and antique regilded frame, topped with a swirl decor, with scattered paint losses.

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.

Saint Anthony Of Padua With Baby Jesus Oil On Canvas 17th 18th Century

Oil on canvas. Emilian School. The Saint, kneeling, holds baby Jesus and a lily in the other hand, his iconographic symbol. Angels twirl above him, in the golden light symbol of the divine presence; on the right of the Saint there is a glimpse of a landscape. The painting, already restored and recanvased, is presented in a frame in style.

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.

Attributed to Gaetano Gandolfi Oil on Board 18th Century

Saint. Antonio with Baby Jesus

Oil on oval board. Painting attributed to Gaetano Gandolfi who imposed himself on the bolosgene scene in 18th century ranging from a sacral prodution, rich of balanced religousness very evident in the altarpieces, to a more fresh and playful prodution with mythological and classical subjects. The paduan saint is represented following his classical iconography: wwaring a franciscan habit and holding a lily, sybol of purity; between and the Child that his holding there is a game, kind and adorating the saint's one, smiling and devoted Baby Jesus's one. The painting stands on a plywood panel and displayed in an ancient frame.

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.

Christ At The Column North European School Oil On Oak 16th Century

Oil on oak panel. North European school. Sealing wax stamps on the back. Scene of the Passion of Christ, in which Jesus, tied to the column, is scourged by Roman soldiers, after being sentenced to death by Pontius Pilate. The canvas presents some openings in the wood. It is displayed in a frame in antique woods, modified and re-laquered.

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.

Ecce Homo Underglass Painting Early '700

Under glass painting. Representation according to the traditional canons of Christ displayed in front of the crowds, crowned with thorns, with a red cloak and a bamboo cane in the manner of a sceptre. Some paint losses. It is displayed in style frame.

Christ Carrying the Cross

Oil on the table. The scene, a station of the Via Crucis, is painted on a panel in which a lock is inserted on the right side; it is also painted on the back, with the effigy of an exhibition cross surrounded by the tools used during the Passion of Christ (the ladder, the cockerel, the dice, the spear, the stick with the sponge). It is obviously the door of a reliquary or a tabernacle. It has color drops and woodworm holes on both sides.

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.

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.

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.

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.

Pietro Cortellezzi Mary With Child Fresco 1930s 1940s

Madonna with Child

Fresco. Pietro Cortellazzi studied in Milan but came from the province of Varese, he became an affirmed fresco artist in the Lombard and Venetian churches. In particular, one of his fresco cycles of the Four Seasons can be found in the hall of honour of Palazzo Marino in Milan, reaized for the restoration of the damage caused by the bombings of 1943; another cycle in the church of the Saints Gervasio and Protaso. The piece is framed.