Greek Triptych Icon Deesis Greece 17th Century Paint Tempera on table Religious

1620-1680

Flemish painter of the 18th century - Follower of Jan van der Meer, called Vermeer d'Utrecht (Schoonhoven, verses 1630 - 1692) Courtship scene at the entrance of an inn oil on canvas, 70 x 62 cm. (with frame 80 x 72 cm.) This pleasant genre scene, depicting a young innkeeper conversing amiably with a gentleman as she prepares to serve him wine in a glass goblet that she still holds in her hand, is inspired by the painting made in 1653 by the Dutch painter Jan van der Meer, known as Vermeer d'Utrecht, and today kept in Paris at the Louvre Museum. Set outside an inn or a post station, the scene illustrates the theme of seduction, with the young waitress being courted by the client, a charming traveler with a changing red cloak, who tries to charm her. Yes, it is a work that harmoniously combines the painter's Dutch origins, with the stylistic characters learned during his training in his homeland, with the Italian-like characters learned during his trip to Italy around 1655. In Rome, in particular, he met and collaborated with various authors of the Bamboccianti school, first of all Jan Miel...

Girolamo Bonini, called Anconitano (Ancona, circa 1600 - Bologna 1680) Annunciation (or Madonna of the Beautiful Angel) Oil on canvas (115 x 91 cm. - Framed 134 x 108 cm.) Work accompanied by the expertise of Prof. Emilio Negro The work, undoubtedly commissioned as an object of private devotion, shows the Annunciation to the Virgin Mary, a Gospel episode here set on the two figures portrayed in the foreground, the Archangel Gabriel with outstretched wings, a portrait of supernatural beauty, and the Virgin; We see her here absorbed in reading a prayer book with her eyes turned humbly downwards as a sign of devotion, while a small cherub hands her white lilies, a symbol of purity and chastity.   In the upper part of the composition is the austere image of God the Father, with the dove radiating with light, emblem of the Holy Spirit, surrounded by a flock of angels fluttering in the clouds charged with intense glow and play of light, in full Baroque style. It should also be noted that the image of the Saviour's mother in a delicately pious attitude, with her yellow veil, her broad blue mantle and her usual modest red dress from which the edges of her white blouse protrude, is to be interpreted as a kind of tender allegory of sacred love. The painting in question is an interesting replica with variants of the composition commissioned from Francesco Albani for the Fioravanti chapel in the ancient church...