Antique Painting Portrait of Emperor Vitellius Oil on Canvas '700

Oil painting on canvas. Italian school of the 18th century. The painting depicts the death of Saint Joseph which, according to the apocryphal gospels, occurred assisted by Mary and Jesus: the dying man lies in fact in his bed of agony, supported affectionately by his putative son Jesus and his wife Mary, while several angels assist, both at the foot of the bed, or from above where the heavens already open to welcome the soul of the saint. Joseph's is considered the most desirable and peaceful form of death, of old age, in one's bed and surrounded by one's loved ones, and for this reason the Saint is considered the patron saint of the dying and of sweet death. Restored and relined, the painting is presented with a frame.

Oil painting on canvas. Italian school of the 17th century. The Saint is depicted inside his study, intent on reading and studying the sacred texts, but in penitential garb, i.e. clad only in a red cloth draped around his naked body. The painting, relined, has a significant crack; It is placed in a contemporary gilded wooden frame.

Oil painting on canvas. Italian school of the 17th century. At the center of the scene is Christ, kneeling in the water of the Jordan, with his arms gathered towards his body in an introspective attitude; next to him John the Baptist is pouring the water of Baptism on his head. On the left three angels assist, holding the cloth ready to dry the body of Christ, but their gaze is pointed upwards, to contemplate the descent of the Holy Spirit. A landscape rich in vegetation forms the backdrop to the scene. On the first canvas, the painting has some patches on the back. The crack is marked and there are some very small holes. The painting is presented in a 19th century gilded frame (left missing).

The Months of the Year

Watercolor etchings. Series of twelve loose sheets etched and colored by hand, with caption and name of the relevant month at the bottom, depicting typical scenes linked to each month of the year. Made based on drawings by Giuseppe Zocchi (1711 -1767), the engravings by Giovanni Battista Cecchi (1748 -1819) were printed between 1750 and 1799 by the Florentine publishers Giacomo Moro and Giuseppe Bardi. The series is in good condition, with small moisture stains and minor defects. The engravings are presented in style frames.

Oil painting on canvas. Northern Italian school of the 18th century. According to the taste of the 18th century, the proposed landscape is dominated by the remains of an ancient temple, vestiges of past glories. All around there is a countryside with a stream, but fading in the distance towards the blue peaks of a mountain range. 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. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.

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 painting on canvas. The vertically developed landscape sees an imposing architectural structure in ruins at the centre, invaded by weeds and presented with nuanced colors and features, as if to underline its decadence. In front, in the foreground and well defined, some figures of shepherds at rest, while the cows graze: one shepherd plays the whistle, the second, sitting leaning on his stick, observes the third, who, having stripped naked, is intent on washing himself, stretched languidly on the edge of the waterhole. On the left there is a glimpse of rocky peaks, gray under a sky with dawn atmospheres. The restored and framed painting is presented with a strip frame.

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. Central European school. The scene, set inside a tavern, depicts a fight between two men, who are held by the other patrons and by the innkeeper; on the table, next to the interrupted lunch, the cards of the game that sparked the quarrel. The whole scene is filled with figures, painted in a raw and almost grotesque way, with very pronounced, almost theatrical expressions and poses, underlined even more by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which started in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in a period frame.