Antique Painting '600-'700 Moses Rescued from the Water Oil on Canvas

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.

Oil painting on canvas. Northern Italian school of the 17th-18th centuries. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame.

Oil painting on canvas. Northern European school of the 18th century. Caratacus was a Celtic king of the Catuvellauni tribe of Britons and leader of the anti-Roman resistance and famous as a freedom fighter. For eight years he resisted the Roman invasion of Britain starting in 43 AD. For eight years he was the most wanted man in the Roman Empire, hunted relentlessly, from fight to fight, from fortress to fortress, in the mountains of Wales, until he was not betrayed and handed over to the Romans in 51 AD by Cartimandua, queen of the Yorkshire Brigands, to whom he had turned for help. Defeated, he was brought in chains to Rome with his entire family: brought before the emperor, the British king spoke with such wisdom and pride (with the speech reported by Tacitus in his Annales) that Claudius, struck by his words, granted the grace to him, his wife and brothers, allowing them to spend the rest of their days in Rome. The painting presents the moment of Caratacus' peroration, at the center of the scene in chains, fervently pleading his case before the emperor: he is sitting on his throne, flanked by his wife and surrounded by senators and soldiers. The painting, restored and relined at the end of the 19th century, has slight damage.

Oil on canvas. 17th century Tuscan school. According to Christian tradition, Saint Veronica was the 'pious woman' who, seeing the passion of Jesus carrying the cross and his face smeared with sweat and blood, wiped it with a linen cloth, on which the imprint of Jesus' face would remain. This veil, also known as the Holy Shroud, thus became the iconographic sign of the saint. Veronica also appears in the centre of the painting, while two angels on the sides hold the linen on which Christ's face is imprinted, crowned with thorns; below it, a chalice symbolically collects the divine blood, while above the saint's theta the Holy Spirit hovers. Restored and re-framed, the painting is presented in a stylish frame.

Oil painting on canvas. The composition features a hanging hare in the centre, flanked by some quails and a pigeon; on the right side, a wicker basket containing chestnuts and pine branches; on the left side a bunch of asparagus and a vase of colorful flowers, whose bright and lively colors create a chromatic contrast with the other elements, all in brown and gray tones. Restored and relined, the painting is presented in a repurposed 19th century frame.

Oil on canvas. Mittel-European School. There is a No.S monogram on the back and numbers probably from an inventory. The painting reminds of pieces from the Austrian area. It represents a battle between knights, it is dominated in the foreground by the confrontation between two of them. The painting comes from a historical collection from Lombardy. The painting is still in its first canvas and original framing; there are patches on the back and signs of antique restorations, it has also undergone an additional pictorial and reperativr restoration, in our lab. Well marked crack. The painting is presented in an original and coeval frame, lacquered.

Cherubs playing with cards

Oil on canvas. The depicted scene is set in a closed environment with a wide window which provides a glimpse of landscape. Three cherubs are sitting on benches and they are playing with cards, trying to build a castle. The painting has been restored. 18th century.

The miracle of Soriano

Oil painting on canvas. The canvas recounts the miracle of Soriano: in this village of Calabria, the Madonna with Mary Magdalene (recognizable by the ointment jar) and Catherine of Alexandria (carrying the palm of martyrdom), would appear in 1530 to a young Dominican, to give him an image of San Domenico to be placed in the convent he built. A beautiful version of the painting is that of Grechetto, from 1654-1655, preserved in Genoa: ours seems to be inspired by this work, which re-proposes the tense composition of the figures. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. The mythological subject that portrays together the two divinities, symbol of profane love, has been amply illustrated in art: as in this work, Venus is usually depicted in a languid attitude, while exhibiting her naked Beauty; Cupid, dressed as a winged putto, is intent on extracting from the quiver one of his darts which induce falling in love, one of which is already stuck in the trunk behind the goddess. In the background an Italian landscape, with a small architectural structure. The shape of the painting refers to an original shaped frame. Restored and relined, the painting is currently presented in a period frame.

Oil painting on canvas. The coastal glimpse, near a rocky inlet where torrential waters flow, sees figures at the landing place of the ships, ready to welcome the boats that are approaching; in the distance the profile of the city. Restored and relined, the painting has widespread dirt stains especially in correspondence with the sky. It is presented in a stylish frame.

Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Northern Italian School of the 18th century. The broad landscape shows in the centre a herdsman who has just passed with his cattle over the small bridge over the stream, which flows through the wooded countryside; in the background, again in the centre, a farmhouse and several country buildings. Restored and retouched, the painting is presented in a stylish frame.