PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY

Oil on canvas. Looking at the still lifes of the past, the canvas offers a colorful and detailed outdoor composition, with fruit stands, vases of flowers and, in the center, a hunting rifle with the hunted prey, a hare and some birds. The painting is presented in a contemporary frame (to be regilded).

Oil on canvas. Italian school of the 17th-18th century. Mary and the Baby Jesus, standing on her knees, are depicted already in the glory of heaven, with little angels at their side. Peculiar are the coral necklace and bracelets worn by the Child: in Christian symbolism the color of this material represents the blood that Jesus will have to shed; moreover, since ancient times, coral was also considered a talisman of protection against the evil eye and the forces of evil, and small children were adorned with it to protect them from the devil. The painting is on the first canvas and presented in an ancient contemporary frame.

Copper panels decorated with enamels. This is a 19th-century reproduction of the enamelled Cross of Paschal I (817-824), an important staurotheca in embossed and gilded copper, which contained within it minute fragments of the Cross of Christ, and which became part of the Treasure placed by Leo III (795-816) in the oratory called Sancta Sanctorum in the Lateran. The Cross is made up of five panels, arranged in the shape of a Latin cross, on which seven episodes from the life of Jesus are depicted with lively enamel figures. In the upper panel are the Annunciation and the Visitation of Mary; in the centre panel is the Birth of Jesus; on the left is the Flight into Egypt and on the right is the Adoration of the Magi; and finally in the lower arm is the Presentation of Jesus at the Temple and the Baptism of Jesus. The panels are composed on a wooden base and presented in a glass case frame.

Oil on canvas. Central European school of the late 19th-early 20th century. Unidentified signature on the lower right. The landscape glimpse shows a countryside with coniferous woods, crossed by a stream and dominated by rocky peaks. The painting is presented in a golden frame from the early 20th century, with decorations and friezes.

Woodland Landscape

Oil on canvas, applied on board. Signed lower right. On the back there is an autographed stamp of the Neapolitan art critic Alfredo Schettini. Painter born in Catanzaro but trained in Naples, which became his adoptive city, Salvatore Petruolo was skilled in watercolor and in the use of oil colors, he made many landscapes similar to the School of Posillipo and many still lifes and flowers. The painting is presented in a period frame.

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

Oil on canvas. Genoese school of the 18th century. The countryside landscape sees a crumbling structure rising in the center, the ruins of a building through whose torn walls you can see the masses of white clouds in the background flowing; in front of it flows a stream, in which a woman is washing clothes, while her companion sits on a nearby rock, in line with the female figure and almost symmetrical with the female figure. The scene is characterized by a particular search for light, by a dynamism of forms (you can notice the directional continuity of the treetops with the roof of the ruin and the clouds) and by the theatricality of the figures, all elements that have defined the pictorial production of the Genoese Baroque. Restored and relined, the painting is presented in a period frame.

Crayons on paper. At the bottom right there is a signature attributable to Andrea Favero (1837 -1914). It is a pleasant and delicate portrait of a little girl from a poor family, but dignified and proud of her hairdo. She poses outdoors, in front of a flat countryside. The painting is presented in a period frame.

Oil on oak panel. Flemish school of the 17th-18th century. The sacred representation shows the moment of the birth of Jesus in a cave, watched over and adored by Mary and Joseph together with four angels; the figures are well characterized and highlighted by bright colors, while behind them the donkey and the ox blend in with the chromatic uniformity of the cave and the earth. On the right, in the background and in soft colors, fading into the background landscape, the scene of the announcement to the shepherds is depicted. The painting is presented in a period frame.

Mixed media on paper. On the back the artist's stamp with the signature, the title (not legible) and the date of the work. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Oil on canvas. Central European School of the early 1900s. Signed R. Muller lower left. The composition, which evokes still lifes of the most ancient taste, offers a large variety of fruits (white and black grapes, oranges, pears, strawberries, small pumpkins) arranged in a basket and on a stand, on a uniform background. The painting is presented in a period frame.

Oil on canvas. The painting is inspired by the pictorial methods of Francesco Foschi (1710 -1780), an artist who specialized in landscapes and who widely spread the taste for winter landscapes. In this painting we have a glimpse of a mountain landscape, with a village located in a valley beneath rocky and snow-capped peaks. Even the houses and meadows are sprinkled with snow, which is absent on the path traveled by numerous figures; the pink atmosphere of the sky evokes the beginning of a new day, already fervent with activity. The painting has been restored and relined. It is presented in a mid-20th century frame.

Oil on canvas. Portrait of a gentleman proudly displaying an important medallion, perhaps an award, an award he has been awarded, and his rings. The painting has slight damage to the lower parts. It is presented in an early 1900s frame, repainted and with small scattered losses of color (to be restored).

Oil on canvas. Northern European school of the first half of the 20th century. Signed lower right H. Williams. The landscape offers a glimpse of two chalets in the midst of vegetation rich in trees and foliage, with figures on the path; in the background rise sharp, snow-capped peaks. The painting is presented in a period frame.

Tempera on canvas. Framed in a painted, scroll-carved and gilded frame, a mother and daughter are portrayed: the young woman is languidly stretched out on an Ottoman sofa, and caresses the little girl kneeling next to her, holding a lunch basket in one hand. On the back there is a restoration, with a patch in the central part. The work is presented in a period frame.

Oil on canvas. Sweet depiction of the putative paternity of Saint Joseph, who delicately holds his little son in his arms, who in turn strokes his beard, while they tenderly look into each other's eyes. Peculiar is the detail of the white cloth with blue stripes that the saint holds with one hand and which corresponds to the Talled (or Tallit), or the Jewish shawl used by men for ritual prayers. Restored and relined, the painting is presented in a period frame.

Gallant Scene

Oil on canvas. Signed both lower and upper left. The scene is set in a rich noble hall, where ladies and knights in eighteenth-century clothes entertain. It is the work of the prolific Neapolitan painter Salvatore Balsamo, who died very young. It is presented in a mid-1900s frame.

Oil on canvas. The scene depicts the episode told in the biblical book of Genesis, of the expulsion of Adam and Eve from the Garden of Eden, after they committed the sin of eating the forbidden fruit, fruit of the tree of knowledge of Good and Evil. Aware of their nakedness, the man and woman are driven away by an archangel, with the sword of justice in his hand and surrounded by a cloud of fire, they walk shamefully and modestly into the world, represented in a Nordic landscape. The painting, restored and relined, is presented in an early 1900s frame, with carved and applied wooden decorations and friezes.

Oil on canvas. Signed H.Cooper lower left and dated 1909. On the back an inscription indicates the location of Bishops'; Stortford, in the English county of Hertfordshire. It actually depicts a glimpse of the English countryside, with a rural house on the bank of the river, on which stands a fisherman. The painting is presented in a period frame.

Oil on canvas. Portrait on a monochrome background of a young lady, in mourning with a strictly black dress, although enriched by a gold pendant earring. The painting has some paint loss, with a rather marked crack. It is presented in a contemporary regilded frame.