Antique Painting S. Eduard Von Kalckreuth Oil on Canvas - Mountain Landscape with Lake 1863

Oil on canvas. This is a copy of the famous work by Raffaello Sanzio (1483 -1520), created by the artist from Urbino in 1513-1514 and currently preserved in the Palatine Gallery of Palazzo Pitti in Florence. The figures, inscribed in a tondo as in the original work, are made up of Mary, sitting on a rich chair, Baby Jesus in her arms, and Saint John at her side; while the Mother and Child look forward - Mary directly towards the viewer, Jesus a little further away -, little John emerges from the dark background and addresses a prayerful gesture to Mary. The chair on which Mary sits is a Camerale chair, or one of the Pope's privileged seats, a strong symbol of authority in doctrine and certain teaching, attributes of Mary: She is the Mother of God who sits in the cathedra. The color of Jesus' robe is particular, a central yellow spot that refers to the robe of the "Servant", a warning for the Pope who commissioned the original work. The work is presented in a period frame.

Oil painting on canvas. Central European school of the early 1900s. This is a copy of the famous painting created around 1880 by Carl Ludwig Friedrich Becker (1820 -1900) and sold at auction at Sotheby's in New York in 1999. At the bottom right there is the writing Becker to imitate or refer to the original. In the scene the Moor of Venice is telling Desdemona and the Doge his adventures as captain of the Venetian fleet.

The Announcement of Defeat at Waterloo

Oil painting on canvas. French school of the 19th century. The scene, set in the poor bedroom of an elderly war veteran, who is crying in his bed, sees his family telling him the sad news of the defeat at Waterloo, as can be deduced from the sheet of newspaper in the woman's hands, on which the name of the historic location where Napoleon Bonaparte was definitively defeated. The canvas shows signs of previous restorations, in particular the patch corresponding to the female figure is clearly visible. It is presented in an early 20th century setting.

Oil painting on canvas. The composition features mixed fruit - grapes, apples, medlars, figs - placed on a cloth together with some mushrooms and some pink peonies. The colors stand out against the dark background. The painting is presented in an adapted style frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in fact, two figures stand out in the foreground, a man who is fishing with a line and a net, and a woman who looks at him sitting on a rock overlooking on the water, anxious about the outcome of the fishing, which will presumably guarantee the couple's meal. The surrounding landscape is that of a rocky coastal stretch, in a sea inlet overlooking a town on the other shore; a boat sails in the sea, of another you can only see the flagpole behind the rock. Restored and relined, the painting is presented in a period frame, with several defects.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval 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 painting on canvas. Large scene of the Nativity, which develops on two crossed lines: a vertical dimension centered on the architectural structure in bricks and straw, the stable that gave shelter to the family of Nazareth, over which the angels hover announcing the divine glory; horizontal dimension in the lower half, composed of a multitude of figures: in the center the Holy Family, on the two sides the shepherds who go to honor the Child, bringing their simple gifts in nature. Of simple and popular taste, the scene is placed on a poorly defined background. The painting has been restored and relined, but still has large losses of colour. In frame.

Oil painting on canvas. The biblical scene depicts the Holy Family with Mary sitting on the donkey, newborn Jesus in her arms and Joseph pulling the animal, as they flee from Nazareth, headed for Egypt, to escape Herod's persecution. Some little angels hover above them. The gazes of the angels, Joseph and Mary tenderly converge on the Child. In the background a Nordic landscape. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Neapolitan school of the 17th-18th century. It is a traditional scene of the deposition of Christ from the Cross, with the inert and pale body lowered into the arms of his mother Mary, in turn embraced and supported in her pain by the disciple John, and around, sharing in the mourning, two pious women and two disciples. The scene is characterized by a diagonally descending linearity, which follows the body of Jesus, starting from the pole of the Cross raised on the left and ending with the woman crouched to embrace Jesus' feet on the right. All around, a bare and gray background, which underlines the drama and emptiness that it creates. Restored and relined, the painting is presented in an early 20th century frame.