- Scuola centro-italiana 
- Scuola Emiliana 
- Scuola Europa dell'est 
- Scuola Fiamminga 
- Scuola Francese 
- Scuola Genovese 
- Scuola Italiana 
- Scuola Ligure 
- Scuola Lombarda 
- Scuola Marchigiana 
- Scuola Napoletana 
- Scuola Nord Europa 
- Scuola Nord Italia 
- Scuola Spagnola 
- Scuola Toscana 
- Scuola Veneta 
- Scuola centro-europea 
- Scuola ispanica 
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.
Oil painting on canvas. Italian school of the eighteenth century. Rich composition with basin full of variegated flowers, fruit bowl with peaches, a cut pumpkin and a goldfinch that picks grains from the bunch of grapes placed on the table. It is part of that vast production of composite still lifes which in the eighteenth century, deprived of any allegorical or symbolic meaning, was purely aimed at a decorative purpose; he took up multiple, composite, lively inanimate objects, often flanked by a living element, an animal like the goldfinch in this work, which maintained the link with life and everyday life. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Italian school of the seventeenth century. The scene of traditional Christian iconography is very lively and lively, very rich in figures, details and colors: in the center the three figures of the Magi, who pay homage to the Baby Jesus, moved to the left with the Holy Family, while at right there is all the rich suite of the three kings, with gifts. Restored and relined, the painting is presented in a period frame, with shortcomings.
Wild boar hunting
Wild boar hunting
Oil on canvas. The scene is set at the feet of a mountain on the river bank where a fisher is fishing and the focus is on a group of hunters dressed like knights and armed with swords and lances who are delivering the final blow to the already wounded and dying wild boar with the help of dogs. The large format highlights the important commissioner. Restored and relined. Revival frame.
Oil painting on canvas. Italian school. Signed G. Bossi lower right. The large landscape offers on the right the glimpse of a pond with swans, in the middle of a verdant countryside; on the left, a couple on the path is accessing an architectural structure, an outbuilding of the villa of which you can only glimpse an upper corner. Suggestive and with a bucolic atmosphere, the painting is presented in a coeval gilded frame.
Oil on canvas. Italian school of the eighteenth century. It is a large hilly landscape, rich in vegetation and crossed by a small stream, along which two men, in the center of the scene below, are fishing from a pool of water. Above them a sky full of clouds, which fade into the distance, evoking imminent rains. Restored and relined, the painting is presented in a gilded frame from the mid-1900s.
Oil on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.
Oil on canvas. Italian school of the seventeenth century. The large scene depicts the Three Fates, or the three deities of Roman mythology, called Moire in Greek mythology, who presided over the destiny of man: the first spun the thread of life, the second dispensed destinies, assigning one to each individual, establishing them even the duration, the third, the inexorable, cut the thread of life at the appointed moment. Their decisions were immutable: not even the gods could change them. Sometimes depicted as three elderly women, others as young, they appear in this painting with female features of various stages of life: in the center the goddess who spins is of adult age, on the right there is a young goddess who decides the length of the thread, or the duration of life, on the left an old woman who is preparing to cut the thread with a pincer. In reality, from this work it is clear how the three divinities worked in symbiosis and how the three tasks were actually shared, because all three together represented Fate, the Destiny of man. The canvas, previously restored and relined, needs further restoration due to small diffuse drops of color and a patina of dirt. It is presented in a contemporary relacquered frame.
Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.
Oil on canvas. In the scene, set in a countryside near a watercourse, some lumberjacks are intent on cutting tree trunks, to entrust them to the watercourse; on the left, in the background, women and children bring the meal. The canvas offers a well-defined landscape rich in elements, in which human figures instead rather nuanced, almost monochrome those on the left, are inserted as accessory elements in the scene. Restored and relined, the painting is presented framed with a strip.
Oil on cardboard applied on canvas. Italian School. The two compositions show different elements: on has different fruit in the foreground with colorful flowers; the other one shows a plate from which are fallinf flowers and fruit. They had been restored and need to be cleaned. They come with frames.
Oil on canvas. The painting is set in the woods near some architectural ruins and the focus is on the lively group of hunters dressed like knights and armed with swords and lances. They are delivering the final blow to the already wounded and dying deer with the help of dogs. The large format highlights the important commissioner. Restored and relined, it is presented in revival frame. 18th century.
St. Francis in Ecstasy comforted by an Angel
St. Francis in Ecstasy comforted by an Angel
Oil painting on canvas. Italian school of the seventeenth century. The scene is clearly divided into two parts, occupied by the two very different figures in colors and movement: on the left side appears the saint, suffering and suffering, leaning against the trunk of a tree and embracing the Cross, with whom he comes into very physical contact. tightly covering the head of Christ with his head, to express the concept of the Imitatio Christi; dark is the habit, dark is the tree trunk, his figure dull, signs of passion and suffering. Above right an angel, who plays the violin, wrapped in colored clothes and surrounded by light, graceful that almost seems to dance in the air. This iconography of the saint refers to an episode narrated in the Fioretti by San Bonaventura: the saint, very weak from abstinence and the inner battles he fought, prayed to God to grant him a part of that eternal bliss he longed for; then an angel appeared to him who, playing the violin, comforted his soul and alleviated all bodily pain. The painting, retaurato and relined, is in good condition.
Oil painting on canvas. Italian school of the seventeenth-eighteenth century. The great scene depicts a biblical episode taken from the book of Exodus: while Moses is leading the people of Israel, freed from slavery from Egypt, in the desert to the Promised Land, his people are complaining of thirst; he then turns to God asking for advice, and receives the order to go to a mountain and hit a rock with his rod, from which all the necessary water gushes miraculously. In the scene the miracle has already occurred: Moses is on the left, with the rod in his hand, and followed by his faithful brother Aaron, while the whole field is occupied by several women who run with jugs to draw the miraculous water that flows to their feet. The painting, on the first canvas, is presented in an adapted frame from the end of the 19th century.
Oil painting on canvas. Italian school of the eighteenth century. Traditional depiction of the Last Supper of Jesus with his Apostles, in the Upper Room, at the moment of the consecration of the Bread of Wine. In the bare room, two curtains frame the event, creating a chromatic contrast, together with the garments of the figures, with the white tablecloth. Restored and relined, the painting is presented in a period frame, with small widespread shortcomings,
Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.
Oil on canvas. The two large canvases present the figures of two Greek divinities, Venus and Mercury, painted in the manner of statues inserted in a loggia, in almost monochrome tones to recall marble, and on a dark background. Mercury is recognizable by the staff with the coiled snake, called the Staff of Asclepius, one of the symbols of the god; Venus is traditionally depicted in a pose that flaunts her nudity, that is, her beauty. The two panels are conceived as complementary parts of an interior design. Restored and relined, they are framed in simple wooden strips.
Oil on canvas. Italian School. On the left, the landscape shows a farmhouse on the edge of a wood with rich vegetation, with figures of travellers on the path in front of it; on the right, the scene opens up to a view of a lake in the background, surmounted by blue mountains fading into the sky. The painting, conforming to the 18th century landscape style, has been previously restored and re-painted. In fair condition, it is presented in a revival frame.
Oil on canvas. Italian school. With a romantic atmosphere, the landscape with the hill full of trees, the stream crossed by a bridge and the young villager carrying the amphora of water on her head, is surmounted by a sky mottled of different colors, with darker clouds that fade away into the pink of the dawning sky. On the first canvas, the painting shows small drops in colour. It is presented in a stylish frame.
Mixed technique on paper, applied on cardboard. Italian school. The name of Londonio is proposed on the back: the delicate piece certainly recalls the subject and manner of the work of Francesco Londonio (1723-1783), the Milanese artist who specialized in the animal and pastoral genre. It can be considered a work inspired by Londonio, by an artist close to his field.