Composition based on the biblical passage from the Old Testament Zechariah 8:16-23. Oil on canvas, canvas measures: 112 x 87, framed measures: 121 x 97 cm
Magnificent scene in which we see the silhouette of a character cut out against a neutral background, she is richly dressed in a long-sleeved suit closed at the neck by a ruff, on her head a hat topped with feathers draws attention as she holds a flute with one hand which he brings to his mouth and with the other he plays a drum. With old attribution plate "Grimoux", Oil on canvas. Framed measures: 74 x 64 cm, canvas measures: 55 x 46 cm
OIL ON CANVAS. 18TH-CENTURY SPANISH SCHOOL. RELIGIOUS THEME, "THE GOOD SHEPHERD CHILD". 37X30CM/30X23CM (WITH INSCRIPTION ON THE BACK: "GIFT FROM MY FRIEND MENG") Iconography: From the beginning of Christianity, the "good shepherd" is the image of Jesus of Nazareth who, in his role as shepherd, cares for and saves his flock. This theme is the most frequently represented in early Christian iconography, and evidence can be found from the 2nd century onwards. The inspiration for the earliest representations comes from the image of Orpheus—to whom the gift of charming animals while playing the lyre was attributed—and from the depiction in Roman works where the lamb in the arms was a symbol of philanthropy. In the first theme, the "good shepherd" guards his flock, standing or sitting. The other representation, with the lost lamb in the arms or on the shoulders, is much more widespread and derives directly from the pagan models of the Moschophoros or Hermes (Cryophoros) carrying the sacrificial sheep. From the 6th century onward, the representation of the "Good Shepherd" declined until it disappeared completely in the Middle Ages, only to be revived between the 15th and 16th centuries, before falling into disuse again in the 19th century. In the 17th and 18th centuries, it sometimes reappeared in the form of the "Divine Shepherdess." The variety of representations is numerous. Common characteristics of the works usually depict a child carrying a staff, crook, or flute, wearing a tunic, and holding a lamb in his lap or carrying it on his shoulders. It has also been represented with the adult Jesus Christ. In painting, it was already found in the catacombs of Saint Callixtus or Domitilla. One of the best-known representations of the "Good Shepherd" is that of Bartolomé Esteban Murillo.
End of the 17th century, beginning of the 18th century, oil / canvas, with 78 x61.5 without 64 x48 Virgin with child and Saint John.
Gallant scene on panel, Italian school of the 18th century Oil on panel, panel measurements: 54 x 43 cm. Framed measurements: 69 x 57 cm
The Virgin Mary with Saint Anne, Saint Joachim, Saint John and the Musician Angel, 19th century Italian school Oil on panel, framed measurements: 117 x 94 cm Italian school, 18th-19th century. Follower of Orazio Borgnioni. Holy Family with Saint Elizabeth, Saint John and an angel. Oil on table. Based on the original work by Orazio Borgianni made between 1600-1609 and preserved in the Galeria Nazionale d'Arte Antica in Rome. 93.5 x 72 cm unframed
Decorative Colonial Canvas of "Our Lady of the Corner" New Spanish school of the 17th to 18th century, Mexico "True Portrait of Our Lady of the Corner" inscribed in the lower corner, with its integrated frame, oil on canvas measuring: 60 x 40 cm
Attributed to Gasparo Lopez. "Lopez dei Fiori" (Naples 1677-Florence, 1732) Still Life with Flowers, Birds, and a Fountain. Oil on canvas mounted on board. The still life presented here shows close stylistic similarities to the work of Gasparo Lopez, a leading figure in 18th-century Neapolitan painting after Andrea Belvedere and the French flower painters. Gasparo Lopez was an excellent flower painter belonging to the Neapolitan still-life school inspired by Paolo Porpora, Giovanni Battista Rouppolo, and Andrea Belvedere, from whom he learned to paint. He later settled in Florence, where he became court painter to the Grand Duke. It is the biographer Bernardo de Dominicis who points out how decisive the influences of Jean Baptiste Dubuisson were in his career. Dubuisson was a skilled disseminator in Naples of the courtly customs of Jean Baptiste Monnoyer, leading him to a style of painting with an ornamental taste but characterized by vibrant color. His works are characterized by a decorative and refined taste, with great attention to detail in depicting different types of flowers. The sheer quantity and floral richness of his compositions live up to his nickname, “di Fiore” (of the Flowers). Architectural fragments, richly decorated plates or vases, often featuring putti, birds, small animals, and cascades of flowers, are used to create floral settings typical of a culture where a fresh aesthetic absolutely prevailed. The contrast between the colors of the earth and those of the flowers creates a vibrant and dense atmosphere, intensifying the composition. The background is illuminated by plays of light, giving substance to the vase and the fountain and illuminating the petals with vivid colors. As Rita Iacopino notes, “Lopez demonstrates, consistent with the times, a particular sensitivity with a representation of Baroque still life in more authentically decorative terms, giving life to what has been defined as ‘naturalistic Baroque,’ a nature not described realistically, but idealized and sublime.” To compare with the work made by Lopez in 1658 and preserved in the Kunsthistorisches Museum in Vienna. Reference bibliography: "Gaspar Lopez pittore di principi e gentiluomini", by Alberto Cottino. Catalog of the exhibition held at the Gallery De Primi Fine Art SA, Lugano, November 17, 2010-15 January 2011. Genoa, 2010. and "Dopo Caravaggio Fiori dipinti del Seicento napoletano nelle collezioni di Palazzo Pretorio e della Fondazione De Vito", by Nadia Bastogi and Rita Iacopino. Claudio Martini editor. Prato, 2020. 'Vite de pittori, scultori ed architetti napoletani", by Bernardo de Dominici. Forni, 1971. 116 x 89 cm.
Following the models of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617-1682) - Saint Elizabeth of Hungary Healing the Lepers, 18th century. Oil on canvas. Dimensions: 100 x 100 cm
Our Lady of Sorrows, Colonial School of New Spain, 18th century. Oil on canvas: 106 x 80 cm
Pair of decorative Italian still lifes, oil on canvas, 18th century. Oil on canvas, 38 cm x 23 cm, 59 cm x 44 cm.
Beautiful Large Landscape under the Aqueduct and Ruins of Capriccio, Italian, 18th century. Oil on canvas. Dimensions: 118 cm x 99 cm and 140 cm x 119 cm
Religious scene, Colonial School, 18th century, Relined, Oil on canvas, Measures 81×65 cm
Virgin and Child with Angels Crowning Her. Colonial School of New Granada - 18th Century. Oil on canvas. Dimensions: 62 cm x 57 cm (74 cm x 80 cm). The Virgin Mary, in the central position, holds the Child Jesus and is crowned by angels in a celestial setting of clouds and cherubs. At her feet, human figures implore, and an angel offers her a basket, while flames of hell are suggested in the lower left, underscoring the Virgin's intercessory role. The soft colors and rounded forms reveal a late Baroque influence, with resources characteristic of viceregal art in New Spain. The spiritual drama, symmetrical order, and profusion of angels reinforce its devotional function. The execution, although simple in its execution, is expressive and effective, maintaining the focus on the exaltation of the Marian figure as Queen of Heaven. A sacred work, imbued with theological and emotional values.
Pair of Angels with Incense Burners. Spanish School. 18th Century. Oil on copper with ebony frame. Dimensions: 41 x 8 cm (each painting 15 x 12 cm). A pair of small framed panels depicting angels among clouds carrying censers, executed with a delicate oil technique. The figures, with their gentle faces and multicolored wings, are set in an ethereal atmosphere of soft, golden tones. The refinement of the brushstrokes and the spirituality of the gestures link these works to 18th-century Spanish devotional painting, possibly intended for private oratory. The painterly quality and the original ebony frame reinforce their aesthetic and religious value.
Woman Reading. English School. 18th Century. Oil on canvas. Dimensions: 32 x 25 cm (unframed); 40 x 35 cm (framed). In an elegant interior, a young woman, dressed in dark clothing, sits thoughtfully with an open book in her hands. The scene, imbued with intimacy and melancholy, is set within a richly decorated environment with curtains, furniture, and a mirror that suggests depth. The presence of a parrot perched on the back of the chair adds an exotic touch. The composition takes advantage of the warm light falling from the side, creating dramatic chiaroscuro effects on the figure. With a Romantic-inspired pictorial language, this work reflects the ideals of introspection and sensitivity characteristic of mid-19th-century European art.
Divine Shepherdess. Colonial School. 18th Century. Oil on canvas. The painting depicts the Divine Shepherdess seated in a serene landscape, beneath a blue-green sky that frames the scene with an aura of tranquility. She wears a wide-brimmed hat adorned with a white feather, a pink tunic, a dark blue mantle, and a cape lined with white fur, all rendered with subtle chromatic transitions. Two lambs stand on either side of the female figure, each adorned with roses that the shepherdess offers them tenderly. The composition is structured around a central axis that highlights the main figure, whose soft features and peaceful gaze evoke the idealization characteristic of colonial viceregal art. The decorative treatment of the garments, along with the somewhat naive rigidity of the animals, reveals a devotional sensibility typical of popular religious art in the Hispanic American world. The use of warm, contrasting colors and the stylization of the natural elements reinforce its symbolic expressiveness. This piece is fully inscribed within the Marian iconography of the Divine Shepherdess, a devotion widespread in the colonial world since the 18th century. Measurements: 82 × 61 cm; with frame 88 × 67 cm.
