Ars Antiqua

19thC Couple of chimney sweeps (2) Gilded bronze, 40 x 36 x 11 cm

XVII Century St. Jerome in the study Tempera on parchment, 15 x 12 cm Framed, 20 x 18 cm

Late 18th Century Triumph of Galatea Ivory, mother-of-pearl and metal foil inlay on slate, diam. 16 cm With ebonized wood frame, 27 x 26.5 x 3 cm Accompanied by CITES certificate...

19thC Two seascapes showing the Aragonese castle in Baia and the Bay of Naples Oil on canvas, 55.5x77 cm The two pictorial works under consideration are classified as marine views...

17th Century, Veneto Charity Wood, 50 x 17 cm The work under consideration constitutes a vibrant and complex depiction of the Allegory of Charity (Caritas), the most eminent of th...

Neapolitan school, 17th century Charon ferries souls Oil on canvas, 66 x 87 cm Framed: 83 x 106 cm The attached work, an oil on canvas of the Neapolitan school attributable to th...

17th century, by Raphael Sanzio The Expulsion of Heliodorus from the Temple Oil on canvas, 91 x 135 cm The work under consideration takes up the famous fresco The Expulsion of Hel...

Genoa, Louis XV, 18th century Theca Painted wood, 77 x 44 x 27 cm This exquisite 18th-century Louis XV shrine is an emblematic testimony to cabinetmaking and interior decoration o...

Flemish painter, late 17th century Landscape with shepherd and waterfall Oil on canvas, 61 x 97.5 cm Framed, 78 x 114 cm The painting depicts a broad natural landscape conceived ...

Roman school of the 18th century Still Life with Flowers and Fruit Oil on canvas, 40.5 x 64.5 cm Framed, 46 x 70.5 cm This Still Life with Flowers and Fruit fits fully into the ...

XVII Century Cupid playing the violin Painting reported on canvas, 174 x 82 cm

Russia, 19th century Icon Madonna and Child and patron Tempera on panel, 52 x 40 cm The icon, from the Greek eikon, image, presents the narration of some episodes from the life of...

Venetian school, 18th century Ceiling study Pen and watercolor, 20 x 26.5 cm Framed, 39.5 x 47 cm

French School, 20th century Three brothers Pastel on paper, 77 x 108 cm Framed, 101 x 134 cm Signed and dated lower right "Ducreux 1903" The crayon in question depicts three chi...

19thC Landscape at sunset Oil on canvas, 81 x 105 cm Framed, 108 x 131 cm

19th century, by Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato, 1609 - Rome, 1685) Praying Madonna Oil on canvas, 44 x 54 cm Framed, 88 x 60 cm Giovanni Battista S...

18th 18th Century Pair of little angels Polychrome wood, cm h 25

18th century, circle of Pietro Antonio Rotari (Verona, Sept. 30, 1707 - St. Petersburg, Aug. 31, 1762) Girl with flower basket Oil on canvas, 52 x 70 cm Framed, 62 x 80 cm Pietr...

19thC Landscape at sunset Oil on canvas, 81 x 105 cm Framed, 108 x 131 cm

19th Century Views of the Bosphorus Oil on canvas, 75.5 x 105 cm Framed, 89 x 118 cm In the full nineteenth-century taste for travel and Orientalism, the two splendid views captu...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm Framed, 61 x 50.5 cm The bucolic amenity of the present is reflected within the joyo...

Scuola emiliana, XVII secolo St. Francis Oil on canvas, 73 x 59 cm Framed, 83 x 69 cm Patron saint of Italy, St. Francis (Giovanni di Pietro di Bernardone; Assisi, 1181/1182 - 1...

19thC Still life with fruits Oil on canvas, 64 x 52 cm The still life analyzed presents a mixture of floral and fruit elements arranged in a circular order on a table covered with...

Inizi XIX secolo Icon of the Nativity of the Mother of God Tempera on panel, 54 x 45 cm The icon in question condenses several scenes from the story of the Virgin, the representa...

French School, 18th century Garden with figures Oil on canvas, 40 x 53 cm Framed, 59 x 72 cm

Venetian school, mid-18th century Loth and the daughters Oil on canvas, 43 x 57 cm Framed, 70 x 84 cm The canvas under consideration clearly depicts Loth and his daughters, the p...

Neapolitan school of the 17th-18th centuries Bacchus and Ariadne abandoned by Theseus Oil on canvas, 74 x 100 cm Framed, 89 x 111 cm The painting under consideration, attributab...

German ceroplast from the 17th century Bust of a gentlewoman Wax, 36x32.5 cm The use of making wax figures was very common, since ancient times, among the Greeks and Romans, and, ...

Circle of David Teniers (Antwerp, 1610 - Brussels, 1690) Interior with figures of commoners Oil on canvas, 37 x 27 cm Framed, 48 x 37 cm David Teniers the Younger (Antwerp, Dece...

French school, 18th-19th century The soap bubbles Oil on panel, 44.5 x 36.5 cm Framed, 60 x 54 cm In this French school painting, with its leery and playful tone, but mother lovi...

19thC Pair of Landscapes (2) Oil on canvas, 44 x 58 cm With frame 58 x 71 cm

Rome, 18th century Storefront Wood with gilt wood profiles and glass, 116 x 110 x 40 cm The item is in good condition

XVII secolo Quattro fregi con teste di putto e stemmi (4) Legno scolpito, alt. cm 32 L'oggetto è in buono stato di conservazione

Scuola emiliana, XVII secolo Rebecca al pozzo Olio su tela, cm 76 x 58 Giunta la morte della consorte Sara, Abramo decide di cercare moglie al figlio Isacco. Pertanto, manda il suo ...

Dante and Beatrice Alabaster, 33 x 20 x 36 cm Early 20th century The present alabaster relief, of which great technical skill is evident, imitates the pages of a book, On the two...

Piedmont, Louis XVI Mirror with selvage Carved and gilded wood, 164 x 104 cm Light, 90 x 70 cm The Louis XVI mirror under consideration, clearly manufactured in Piedmont, was mad...

18th 18th Century Pair of candle-bearing angels Carved and gilded wood, 28 x 71 cm The item is in good condition

Lombard School, 17th century Christ child with globe within garland of flowers Oil on canvas, 72 x 61 cm Framed 90, 5 x 80 The present painting, framed by a sumptuous antique fr...

Roman School, 17th century Still Life Oil on canvas, 79 x 107 cm Framed, 93 x 121 cm The work under scrutiny, depicting a majestic still life of flowers, is ascribed to the 17th...

XVII Century Lion Marble, 30 x 43 x 25 The object under consideration is configured as a marble sculpture referable to the 17th century, characterized by a strong, visceral langua...

18th century, Louis XVI Wall cartoons (3) Carved and gilded wood, 60 x 40 cm - 35 x 36 cm Light, 30 x 26 cm - 14 x 13 cm The three pieces of furniture in question represent splen...

17th century, Emilian school Rest on the flight to Egypt Oil on canvas, 42 x 33 cm Frame 65 x 55 cm The present Holy Family, ...

Late 18th - early 19th century River Landscape Oil on canvas, 64 x 96 cm - with frame 77 x 10 cm The canvas in question is an example of Vedutist painting at the turn of the 18th an...

Rome, 17th century Pair of angels Gilded wood, cm h 92 - Base, cm 25 x 40 The pair of putti examined is a masterpiece of the Roman Baroque period, a period of pomp and opulence w...

Adolfo Laurenti (Monte Porzio Catone, April 23, 1858 - Rome, 1944) Bust of togatus Terracotta, 21 x 18 x 12 cm Adolfo Laurenti was born on April 23, 1858, in Monte Porzio (since 1...

Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793) Lying Female figure Oil on canvas, cm 46 x. 31 - With frame, cm 56 x 42 The present painting is connected by style and treated subject, in this case a young girl lying in an idyllic landscape, to the production of small pictures of pastoral subject of the Piedmontese painter Giovanni Domenico Molinari (Caresana, 1721 - Turin, 1793). Molinare was born in Caresana (Vercelli) on 19 July 1721 but after losing both his parents he moved to Turin. Here he became, from 1736, a pupil of the Academy of Drawing founded by the painter Claudio Francesco Beaumont (Turin, 4 July 1694 - Turin, 21 June 1766) where he remained as a pensioner until December 1755. Molinari was immediately engaged in the translation of the master’s sketches on cardboard used for the Regia manufacture of tapestries. His early success on the Turin art scene is confirmed by the fact that he joined the Compagnia di San Luca in 1756. In 1751 he married Margherita Peiroleri, whose brothers Pietro (engraver) and Nicolò (painter) also attended the school. Remained widower count two other marriages first with Lucrezia Elisabetta Burzio and then in 1770 with Domenica Maria Ferrero. On the death of the master in 1766 Molinari, considered by his contemporaries to be the most faithful interpreter of the master and for his elegant and Arcadian style, which clearly interprets the aesthetic taste of the court, was called to finish the works that remained unfinished, such as the altarpiece for the church of Santa Maria della Scala in Moncalieri depicting the Assumption venerated by Blessed Bernard of Baden and Saint Anthony. Molinari was also well praised by critics and Abbot Lanzi highlighted the quality of the production of historical and mythological subject for the rigorous post-marattesco classicism. In Turin he worked for Vittorio Amedeo III of Savoy as a portrait painter, executing for him eleven canvases (between 1774 and 1775), but, since 1745, he also supplied tapestry cartoons to the local Fabbrica, of which, in 1766, he became director. The production of paintings of sacred subjects is also lively, especially used in the decoration of the churches of the capital as the Assumption for the Hotel of Virtue and San Pietro Regalado and San Benedetto il Moro for Santa Maria degli Angeli ( Torino) He also painted tempera and oil cartoons for the same church, on the occasion of the beatification of Pacifico da San Severino (1787) and, for that of San Francesco di Paola, when Gaspare de Bono...

19th century, English School Gentleman’s portrait Oil on canvas, cm 76,5 x 64 The painting in question portrays a gentleman of the second h...

First half of the 19th century Madonna and Child with souls in Purgatory Lacquered and gilded papier-mache with polychrome wooden base cm 96.5 x 37.5 x 28 "At that time I asked the Lord Jesus: 'For whom do I still have to pray?'. Jesus answered me that the following night he would make me known for whom I had to pray. I saw the Custodian Angel, who ordered me to follow him. At a moment I found myself in a foggy place, invaded by fire and, in it, a huge crowd of suffering souls. These souls pray with great fervour, but without effectiveness for themselves: only we can help them. The flames that burned them, they did not touch me. My Guardian Angel did not abandon me for a moment. And I asked those souls what their greatest torment was. And they unanimously answered me that their greatest torment is the ardent desire of God. I read the Madonna who visited the souls of Purgatory. The souls call Mary 'Star of the Sea'. She brings them refreshment ". (Diary of Sister Faustina Kowalska p. 11) A Polish religious, Saint Faustina Kowalska (1905-1938) reinterpreted in the pages of her testimony the ancient role of the Virgin as savior and supporter of the souls of Purgatory. The Second Vatican Ecumenical Council established that, assumed into Heaven, the Mother of God should operate a continuous intercession in favor of those children waiting for Paradise who were in the place, quoted for the first time by Pope Gregory the Great...

17th century, Roman School Mystical marriage of Saint Catherine of Alexandria Oil on canvas, 32 x 23 cm Frame cm 45 x 36 The saint is depicted in front of the Virgin holding the Child portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the king of Costa, who had refused to marry the emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, had sent to call the wisest men and fifty philosophers and orators who presented themselves and tried to divert her from faith in Christ. Catherine, however, played so well that she was able to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, however, who had criticized Maxentius for the new persecutions against the Christians, was sentenced to prison without food. Abandoned for twelve days, she was fed by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel become her attribute iconographic; but by divine intervention this broke and the young was saved. Finally, she was beheaded and milk flowed from her neck. Catherine’s princely status is witnessed here by her sumptuous dress. The iconography of the mystical marriage was born in the fifteenth century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to look like a ring, and refers to a vision that will always remain present in the mind and heart of the saint. In Heaven she appeared to her, among the Angels and Saints, Christ the Child, in the arms of the Virgin. He took a precious ring that the Virgin Mary handed to her and put it in her finger, saying "I, your Creator and Saviour, take you in marriage; confident that you will keep you pure until you celebrate your eternal wedding with me, in Paradise" When Catherine was laughing, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ. In this extraordinary episode we can see the heart of Catherine’s religious sense, and of all her spirituality. For her, Christ is like the bridegroom, with whom there is a relationship of intimacy, communion and fidelity; he is the beloved, whom she loves above all...

Early 20th century Gallant scene with citadel White marble and green marble from the Alps, cm 59 x 48 x 29 Signed on the back "G. Abell" The refined marble group describes the...

Roman School, 17th century Angelica and Medoro engrave their names on the bark of a tree Oil on canvas, 65 x 48.5 cm The canvas depicts one of the most famous episodes of O...

Antonio Cifrondi (1665 - 1730), Attributed Man with stick - Saint Joseph Measures: Oil on canvas, Cm 115 x 79 - With frame, cm 139 x 103 This canvas is, for stylistic and c...

Francesco Zucco (circa 1575-1627) Gentleman’s portrait Measures: Oil on canvas, cm 120 x 140 The painting analyzed here belongs to the pictorial production of Francesco Zucc...

18th century Personification of the Day Alabaster, cm 11.5 x 17.5 x 5 With base cm 14.5 x 20,8 x 11.7 Il Giorno is a marble sculpture (160x150 cm) that Michelangelo mad...

First half of the 18th century, Lombardy Putti (2) gilded wood, H 88 cm The work is distinguished by the high artistic quality and the remarkable executive care, as eviden...

16th century, by Raffaello Sanzio (Urbino, 1483 - Rome, 1520) Madonna of the Carnations Measures: Oil on canvas 38 x 30 - with frame 59 x 52.5 cm The Madonna dei Garofani made b...

19th century, Bloch workshop Pair of vases (2) Porcelain, cm H. 36 The two porcelain vases, in the shape of an amphora, with handles, are to be associated with the Bloch wor...

18th century Immaculate Madonna Terracotta, 53 x 22 x 20 cm The work examined depicts the Virgin Mary treated according to the iconography of the Immaculate Virgin The theme of the Immaculate Conception began to appear in artistic works ever since the debate began, which saw the Franciscans and the ramifications of the Benedictine Order lined up on one side, linked to the thought of Anselmo d'Aosta and Bonaventura da Bagnoregio, and on the other the Dominicans, linked to the discussion offered by Thomas Aquinas...

Guglielmo Napoli (Pavia, 1868 - Genoa, 1945) The betrothed Oil on panel, 46.6 x 68 cm Frame 73 x 81 cm Signed lower left "Gugl . mo Napoli Dipinse" The work in questi...

Antonio Bertoli (active between 1829 - 1842) Portraits of women (2) Oil on canvas, 41.5 x 31 cm With frame 52 x 42.5 cm Signed below A. Bertoli The two portraits examined here are by the hand of the artist Antonio Bertoli, a painter active in Florence between 1829 - 1842. He trained at the Florentine Academy, where in 1832 he obtained the prize for the nude in drawing. At the academic exhibitions of the following years he exhibited mainly portraits, including a representation of Nicolò Macchiavelli executed in 1837. An eclectic artist, he experimented with different genres: for the Villa Puccini di Scornio in Pistoia, in 1838, he was commissioned to create a history picture, The death of Francesco Ferrucci (Pistoia, Civic Museum), inspired by an episode of the novel Siege of Florence by Francesco Domenico Guerrazzi. Instead, two religious paintings date back to the 1840s: Christ chasing the merchants from the Temple and a Virgin Mary, In the portraits analyzed Bertoli depicts two half-length women taken from a foreshortening and a frontal in close pose, characterized by very similar Mediterranean features. In the first painting the woman, taken from the front, looks directly at the viewer. The wavy hair is decorated with a colorful violet and is partially covered by a white veil...