Villa Stampanoni Antiques
  • Bacchus and Ariadne, Antoine Coypel, 18th century
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Bacchus and Ariadne, Antoine Coypel, 18th century


Bacchus and Ariadne Oil on Canvas eighteenth century to 1720 Painter: Antoine Coypel attr. (1661 - 1722) Measures Height 158 ??cm X 135 cm Width gilded wood and stucco frame of the XIX century Right, Ariadne abandoned on Naxos her rock by Theseus which there are left off the white sail on the horizon receives visit Bacchus, the chariot and the procession occupy the left side of the canvas. Above Ariadne Hymen lift his torch; one hand on the heart, the other to the arm of Ariadne, Bacchus offers Ariane marriage. The limited space of the stage, bounded by the rock and the tree on the left, lets in off the vague area of ??the sea. Compare this with the device invented by Charles-Antoine Coypel for the tapestry of Angelic Wedding and Medoro. Antoine Coypel (11 April 1661 – 7 January 1722)[1] was a history painter, the more famous son of the French painter Noël Coypel. Antoine Coypel was born in Paris.[2] He studied under his father, with whom he spent four years at Rome. At the age of eighteen he was admitted into the Académie de peinture et de sculpture, of which he became professor and rector in 1707, and director in 1714. In 1716 he was appointed king's painter, and he was ennobled in the following year. His great work of decoration was the ceiling of the Royal chapel at Versailles (1716), in the manner of the Roman Baroque. He also carried out large-scale paintings illustrating themes of the Aeneid for the Palais-Royal (1714–1717). Antoine Coypel received a careful literary education, the effects of which appear in his works; but the graceful imagination displayed by his pictures is marred by the fact that he was not superior to the artificial taste of his age. He was a clever etcher, and engraved several of his own works. His Discours prononcés dans les conferences de 1'Academie royale de Peinture, etc.; first appeared in 1721. His half-brother Nöel-Nicolas and his son Charles-Antoine Coypel (1694–1752) were also accomplished painters. the sculptor François Dumont was his brother-in-law. He died in 1722, he was 61 years old. References : La Peinture française aux XVIIe et XVIIIe siècles : exposition, Dunkerque, Valenciennes, Lille, Association des conservateurs de la région Nord-Pas-de-Calais, 1980, 183 p. p. 98. www.anticSwiss.com

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Country: Italy
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Portrait of Anne of Austria, 17th century

Portrait of Anne of Austria, 17th century

Portrait of Anne of Austria (1601-1666) infant of Spain, archduchess of Austria, princess of Burgundy and princess of the Netherlands, queen of France and Navarre, wife of Louis XIII, daughter of King Philip III, king of Spain.

Oil on canvas, France around 1635 
Atelier of Philippe de Champaigne (1602 - 1674) 
Frame in carved, waxed and gilded Dutch oak, with stylized acanthus leaf decorations. 
Measures 72 cm X 64 cm 
Restored with only superficial cleaning. 

Dressed in immeasurable beauty, with silky curls that fall into a mother-of-pearl-colored décolleté, a dress of soft silk accentuated by an embroidered jewel that seems not to end and emerge from the canvas, her big eyes look at us, her lips tinted with strawberry color. entice you to look back. Portrayed half-length with all her charm, a beauty of yesteryear but completely current, she appreciates her simplicity of posture, accomplice of the skilful chiaroscuro that brush strokes have brought out. 

Words are inexpensive to describe the emotion, the vibration of a detail, the purity, the elegance of our queen of France and Navarre. 

Philippe de Champaigne (1602 - 1674) 
Born in Brussels, he settled permanently in Paris in 1621. A pupil of the painters Jean Bouillon and Michel de Bordeaux (from 1621), he trained together with Jacques Fouquières and Nicolas Poussin, to whom he always remained close from deep friendship. He had as a pupil his nephew Jean-Baptiste de Champaigne, who joined him in Paris from Brussels in 1643 and worked with him on the decorations of various royal apartments. 

Already in the early years of his career he abandoned both the first baroque trends, the result of his early artistic education, and the influences of Rubens, to orient himself towards a more measured https://www.anticswiss.com/en/antique-dealer-profile/5">Villa Stampanoni Manfredini Fiaschi
18TH CENTURY, PORTRAIT OF SAINT ELIZABETH OF HUNGARY

18TH CENTURY, PORTRAIT OF SAINT ELIZABETH OF HUNGARY

Work representing Saint Elizabeth of Hungary, this beautiful painting of the Venetian school, disappeared from the antique market, was found on a succession of heritage, of the highest pictorial quality as well as of good size, surprises the spectator who appreciates the details and vestiges convinced of its originality.

Oil on canvas - 18th century Venetian school, circa 1750
Contemporary 18th century frame
Measures Height 118 cm X Width 89 cm
Original patina

Elizabeth of Hungary, or of Thuringia: Hungarian princess, Langravia of Thuringia by virtue of her marriage to Ludwig IV, linked to Frederick II of Swabia by distant family ties. Widowed, she entered the Franciscan Third Order, dedicating herself to various works of charity. She was proclaimed a saint by Pope Gregory IX in 1235. Daughter of André II the Gerosolimitan, king of Hungary, Galicia and Lodomira, and his first wife Gertrude of Merania, in 1211, she was betrothed to the firstborn of Landgrave of Thuringia Hermann Moi, to seal the alliance of the two dynasties in the fight against the Emperor Otto IV: she was sent to Wartburg, to the court of Thuringia, where she was educated by her future mother-in-law, Sofia of Bavaria .

Died in 1213 Ermanno, the fiancé, he married in 1221 his younger brother Ludovico IV, known as the Saint, who had inherited the estates of his father in 1217. From their marriage were born three children: Ermanno, Sofia (later wife of Henri II du Brabant) and Gertrude, who became abbess of the Premonstratensian monastery of Altenberg. On September 11, 1227, Ludovico IV died in Otranto, while he was waiting to embark with Frederick II for the Holy Land, where he was to participate in the Sixth Crusade.

The widow, already very active in works of charity, placed herself under the spiritual direction of the theologian Conrad of Marburg: she entered the Franciscan Third Order and retired to the hospital she had built in 1228 in Marburg, where she devoted himself to the care of the sick to death. She was proclaimed a saint in Perugia by Pope Gregory IX on May 27, 1235 (feast of Pentecost): the liturgical memorial of the saint, initially planned for November 19, was moved from 1969 to November 17, her dies natalis. In Hungary and the German-speaking region (Germany, Austria, German-speaking Switzerland and South Tyrol), however, his holiday continues to be celebrated on November 19.

She is the patron saint of bakers and hospitals (according to tradition, she transformed the breads she had hidden for the poor and the sick into roses) and is, along with Saint Louis of the French, principal patroness of the Third Order Regular of Saint Francis and the Secular Franciscan Order "Elisabeth of Hungary". Many communities of Franciscan tertiary women dedicated to the care of the sick in hospitals bear the name of Saint Elizabeth, like the Hungarian Saint. Among the main ones are the Elizabethan Franciscan tertiary nuns, the Elizabethan Franciscan nuns and the Elizabethan Franciscan tertiary nuns.

Biography: Maria Aloisio, Elizabeth of Hungary, Padua, Messenger of Saint Anthony, 1990

* Certificate of free movement issued by the Beaux-Arts of Florence
* Certificate of origin and authenticity with photo, signature and quote.

Sergio Schina
Antiques Old paintings / Samurai art
FRANÇOIS JOUVENET, PORTRAIT OF A KNIGHT IN ARMOR

FRANÇOIS JOUVENET, PORTRAIT OF A KNIGHT IN ARMOR

Excellent and large oil painting on canvas depicting the portrait of a Knight in armor belonging to the Royal Order of Saint Louis, France early 1700s, extraordinarily realistic of an amazing quality, painting attributed to François Jouvenet 1664-1749 called Jouvenet the Younger.
The work is framed by a beautiful carved and gilded oak wood frame called "à la Berain, original chassis with fixed couplings.

On a night of battle under a dark and foggy sky, the artillery returns to roar its last cannon shots, the lord is its commander, the architect of the next victory, a valiant noble, a knight of the Royal Order of San Luigi.
The pose of our lord is royal, canonical to all officers of rank, portrayed standing at three quarters and with his gaze fully towards the viewer, illuminated by the glare of war, and posed.

A powdered and combed face of a large léonine wig, in the fashion of the kingdom, lets long reddish curls fall on a shimmering armor, while a fluffy red velvet cloak surrounds it and highlights its figure in the dark of the night, a knotted white jabot at the neck in the French manner of the time, it marks the noble belonging, accompanied by a showy medal of the Royal and Military Order of St. Louis, pinned on the cuirass and ending with a fluttering purple red velvet bow. The hand rests on the fire mouth, witness of his victories and his glory.

The painting shows all the characteristics of the beautiful French portraiture of the early eighteenth century, the drawing is formidable, the character lives in a context and talks to us about him, this portrait tells us about a life, a belonging, as indeed all the painting of François Jouvenet, a talented French portrait painter born in Rouen on 19 December 1664 and died in Paris in 1749.
Called Jouvenet the Younger, son of an illustrious family of French painters, in 1701 he was enrolled in the Academy of long list of masterpieces scattered in all the most important French museums, including the portrait of Mr Laborde, Advocate General of the Paris Parliament, and that of Mr Maubert Marshal of the Queen's quarters.

His son Dagobert Jouvenet also embarked on a career as a portraitist, with particular success.

The Royal and Military Order of St. Louis (French: Ordre Royal et Militaire de Saint-Louis) was a French military knightly order founded on April 5, 1693 by Louis XIV and named after St. Louis (Louis IX). It was reserved as a reward for worthy officers, and is usually known to have been the first decoration to be allowed even for non-nobles. It is considered the ancestor of the legion of honor, with the same functions. The King of France was the Grand Master of the Order and the Dauphin was automatically a member from birth.

The Order was made up of three classes:

- Knight of the Grand Cross
- Commander
- Knight

The entire order included a maximum of 8 Grand Crosses, 28 Commanders and a variable number of Knights and, in addition to the Grand Master, it also admitted the offices of Treasurer, Recorder and Gentleman Usher. The medal of the order consisted of a portrait of St. Louis surrounded by the Latin motto "LUDOVICUS MAGNUS ISTITUIT 1693" Louis the Great instituted it in 1693.

The knights wore this decoration on the chest in the form of a medal, the commanders wore a red sash from the right shoulder to the left side of the body, ending in a medal hanging on the side, while the large crosses carried the sash and a plaque on the left side of the chest.

The general assembly of the Order was held annually on 25 August, the feast of St. Louis, in the royal palace. As we have said, nobility was not a prerogative required for the order; however, it was mandatory to be a Catholic Christian and have served at least ten years of service as an officer in the army or navy. Members of the Order received a pension.
The noble inheritance was also guaranteed to children and grandchildren.


- A supplied certificate of origin and authenticity, valid under European law on artistic and valuable goods, will be issued to the buyer.
This legally valid document provides an additional guarantee to our portrait.

- The documentation also includes the certificate of free circulation, issued by the Fine Arts of the city of Florence.

- There will also be an expert opinion on the state of the work, Wood's lamp vision and spectrography in compact disc format.



Sergio Schina
Antiques dealer / Paintings French Collector
Villa Stampanoni Manfredini Fiaschi
MARIA LUISA OF BOURBON, ANTON RAPHAEL MENGS ( 1728 - 1779 )

MARIA LUISA OF BOURBON, ANTON RAPHAEL MENGS ( 1728 - 1779 )

Fascinating portrait of Maria Luisa Borbone of Spain Grand Duchess of Tuscany, oil on canvas, attributed to Anton Raphael Mengs atelier around 1765.

From the Adolfo Sardiña Collection - in Edward Berwind's historic villa on Fifth Avenue - New York
Measurements: Height 115 cm x Width 97 cm
Atelier d’Anton Raphaël Mengs 1728 - 1779 

The work opens with the portrait in the foreground in three quarters of Maria-Luisa, portrayed facing the viewer, graceful on a gilded and red velvet armchair, in a royal position and with a fan between the mani, this particular instrument of seduction and code language, traces over the centuries the most sensual, precious and refined paintings of artists of all time.

In the background, as if to frame the lady, a large dark green curtain, draped and woven with golden thread, uncovers and lets you glimpse the architectural glimpse of a column, a symbol of virtue and power; while a crown adorned with precious gems and diamonds sits next to the lady, next to the throne of the Empress.

The Grand Duchess dressed in only light and magic, of beauty and rarity, of that rare solemn balance, emerges from skilled brushstrokes that highlight a dress, a sartorial masterpiece of refined embroidered white silk, scalloped, embellished with rich bows of a green silk musk, which give way to diamond buttons.

The bodice accentuates all the beauty of a semi-open, squared décolleté, illuminated by a pearl choker and a small cross pendant necklace, a symbol of faith, left in full length.
The sleeves stand out, fit tight beyond the wrist to the fingers, offset by a wide train of silk lace.
The powdered and slightly serious face is framed and enhanced by a royal hairhttps://www.anticswiss.com/en/antique-dealer-profile/5">Villa Stampanoni Antiques
Whats' App +39 3386233246
17th century Portrait of woman holland

17th century Portrait of woman holland

Portrait of a young lady with a pearl necklace
Holland in the mid-17th century Abraham Lamberts Jacobs van den Tempel (1622 -1672)
Attributed Gilded wood frame carved with sumptuous motifs of acorns and oak leaves.
Coming from the Timmermans collection - Antwerp
Measurements: Height 116 cm X Width. 100 cm

The decline of Spanish power will affect women's fashion in the Netherlands, which will regain some traits of grace and sensuality, the concept of fashion is making its way through, which ladies follow to be "à la page". Towards 1650 the dresses will become more and more low-cut, arriving at a décolleté that will allow a glimpse of the shoulders, the back and the junction of the breast, the neckline will become increasingly wider. The rich, large and starched back-hanging collars will disappear and will give way to wide shawl and lacy collars.

As well as the long constricting bodices, will give way to "bustier", less rigid and shorter, in linen, which they will put away the waist in its natural position. A series of petticoats will support and inflate the woman in a more natural way, the first dresses in black silk will pass to more flamboyant colors. The hair is more and more constantly collected, with long locks on the side of the face, curled with hot irons and let fall on the shoulders, while the rest of the hair will be collected in a large chignon; this fashion was nicknamed Hurluberlu from the French (crazy-bizarre), born from the disheveled and natural hair of the goddess Nell Gwynne, lover of the royal ruler of England. Hats and caps are no longer mandatory, and ladies of rank can have themselves portrayed even in public places and outdoors.

To bring out the whitish whiteness of the skin, mercury-based cosmetics and lead-based powders were used. The fashion of dyeing hair black has spread, and blondes will compete to find the most opaque and resistant dyes, and even the lymphatic queen of France, Anne of Austria will not remain exempt from this fashion "must" of the first years of the seventeenth century.

Our portrait is a clear example of this change, a young and beautiful lady of rank, in the foreground is portrayed in three quarters and pays homage to us with a branch of white flowers and red roses, a symbol of fidelity, love and passion.

A large red velvet curtain ending in falling tassels frames the scene. She is dressed in a beautiful black silk dress, with voluminous sleeves and a wide shawl neckline, ending and joined at the front by the typical black velvet lace bow, accompanied by a four-diamond brooch and pear-shaped pearl pendant; as well as the parure composed of earrings and pearl necklace "unions d'excellence" illuminates a complexion of a bright and shining powdered face, the girl's eyes are clear, illuminated, alive, and the smile is hinted at just enough.

Long, casual, out-of-bun curls fall naturally over the shoulders, while others, smaller ones surround and adorn the face like drooping laces.
The pose is the natural one, the model seems happy to pose, graceful on the edge of a hinted and velvety armchair, observes the viewer, aware of her social level, showing all her beauty.

The master portrays her, making it a masterpiece, with skilful gentle and precise brush strokes he will capture the sensuality of the model, combining the attributes which will show us the message of love, a message that will remain in our hearts forever.

The certificate of origin and authenticity is available and will accompany the work, guaranteeing its objective authenticity.

Mr Sergio Schina
Villa Stampanoni Antiques
Whats' App +39 3386233246
SAMURAI ARMOR OF THE EDO PERIOD

SAMURAI ARMOR OF THE EDO PERIOD

With pleasure, we present to lovers of Samurai culture, this wonderful armor dating from the early 18th century of the Edo period. This particular armor or Yoroi possesses an exuberant five-plate Kabuto, having the Maedate depicting some leaves and flowers of Paulownia.

The kamon in symbolism and in this case takes the name of kiri-mon; since ancient times the Paulownia tree has been highly regarded as a favorite place of the Chinese phoenix. This Paulownia leaf and flower symbol was used by the Japanese imperial court in the Kamamura period.
There are several variants with different arrangements of the leaves and flowers, arranged differently depending on the historical period and the clan they belong to; ours in particular was granted to the Toyotomi clan and consequently also to the most deserving servants, so many families of Samurai warriors, came from all over Japan to lend their militancy in the Toyotomi clan in the ancient province of Owari in Japan.

The kiri-mon today is used as the official symbol of the Prime Minister of Japan and is still the symbol of status and high government office. At the upper end a thick Hokkaido (Japanese Wolf) fur covers the top of the kabuto making the armor unique in its kind. Our face mask forged in iron and called Mempo, comes with a sort of horsehair mustache accompanied by the Nodowa that part of protection that went to defend the throat, the most precious mempos have smiles, grins and grimaces, all poses taken from the characters of the Japanese theater, their purpose as well as protection was also to scare the opponent, a small hole sometimes appears at the base of the Mempo, for the escape of sweat.

The rest of the armor is well preserved and original from the Edo period, including the bamboo container case with hinges and hand forged iron closure. Recall that the Warlord delegated the most skilled gunsmiths in the construction of his own armor, and the blacksmith who performed this work was certainly, in the Edo period, a master gunsmith perhaps elevated to the rank of Bakufu, the highest rank for an armourer of Japanese armor, an honor for him and for all the descendants of the family.

A valid Certificate of Authenticity will be issued to the buyer.

Sergio Schina
Antique dealer at Villa Stampanoni
ARMOR SAMURAI WARRIOR , JAPAN MEIJI PERIOD

ARMOR SAMURAI WARRIOR , JAPAN MEIJI PERIOD

Extraordinary samurai warrior armor, from the Meiji period (1852 - 1912) coming from a private collection in Kanagawa prefecture in Japan. 

The armor is in excellent condition, sturdy and very heavy, beautiful in the combinations, immediately you are struck by its special workmanship and meticulous attention to detail, the laces in silk and sand-colored cotton join the relative plates, while the parts in leather and golden damask finishes complete the creation of the builder gunsmith. 

The helmet of the type (Koboshi Kuro Bachi) consists of 12 (ken) iron plates, riveted with 48 large protruding nails and arranged in rows of 6. 

The (Maedate) has two long stylized brass buffalo horns ( kuwagata) placed on the visor of the kabuto, in the center a sculpture in gilded and stylized wood with a dragon motif stands out on the helmet, this symbol derives from the Shinto culture, linked to the adoration of divinities and natural spirits. 

The mask (Mempo) protects the face in its entirety, in embossed iron of the type (ryubu men), with a sweet and serene expression, deriving from the Japanese theatrical culture. 

The (Agemaki) come in yellow cotton rope, and fall into 7 tassels on the armor. 

The sleeves (Kote) are presented with long rods joined with an iron coat and finished in the golden damask attachment, as well as the leg protectors (Suneate) with his (Tateage) are also in golden damask. 

The shoulder pads (Sode) are large in size embellished with long ropes and golden tassels, covered inside with a raw black fabric. 
The central structure or cuirass of the type (D? - maru) is presented instead in brown deerskin, divided into 17 sections or plates, joined with silk and cotton laces both on the back and on the front of the armor. The cuirass is in two parts joined by a hinged pin. 

The armor is completed by a sand-colored silk belt and a sandalwood chest from the same period. 

The relative certificate of origin and authenticity of the Samurai armor in question is issued, accompanied by all the photographs concerning the parts that compose it on photographic paper. 


Sergio Schina - Antique dealer
Villa Stampanoni Antiques

 
Extraordinary Buddha in gilded wood, China 19th century

Extraordinary Buddha in gilded wood, China 19th century

Extraordinary and large sculpture of the Buddha dating back to the nineteenth century, finely carved in an expressive way on wood and decorated with semiprecious stones, coming from a Chinese temple; the Buddha is represented in the Bhumisparsa position, with the right hand resting on the knee and the fingers pointing to the ground, the left hand also rests on the knee with the palm facing upwards.

Bhumisparsa means "to touch the earth", or "to appeal to the earth to be a witness". This position is one of the 100 most important positions, as it represents the moment when Siddhartha Gautama, the founding master of Buddhism, later called Buddha, was sitting waiting for Nirvana, that's right, sitting under a large fig tree called Bodhi.

Recall that the Bodhi tree, also called sacred fig, was located within the area where the Mahabodhi Temple now stands, in the Indian state of Bihar. According to tradition, Siddhartha Gautama meditating under the fig tree finds the strength and commitment to free himself from the darkness that was invading him in anticipation of the light. With the fingers of the right hand the Siddhartha touches the earth, and she goes to their aid by making the demon Mara flee. The Bodhi tree therefore indicates awakening, spiritual enlightenment, having been enlightened means seeing everyday life with clarity of truth, thus unhinging any form of ignorance or illusion.

Observing the Buddha, you can see the semi-precious stones of different colors that sublime adorn the sacred sculpture, the gold reflects its heat, everything exudes positivity and inner beauty, this positivity is also perceived simply by looking at the photos. It is said that in China during the nineteenth century the Buddhist monks elected to the forge of sacred sculptures, before starting the work, considered it appropriate to seek deep meditation through prayer, even remaining without food and water for long days.

A Certificate of Origin and Historical Authenticity will be attached to the sculpture.
This document certifies that the article is totally original and from the first half of the 19th century.

Mr Sergio Schina

Villa Stampanoni Antiques
Antique Paintings / Samurai Art

Whats' App +39.338.6233246
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ARCHITECTURE CLOCK, SIGNED BY DUBOIS ET FILS - CASTLES

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ARCHITECTURE CLOCK, SIGNED BY DUBOIS ET FILS - CASTLES
SOLD
PENDULE AU CHAR

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PENDULE AU CHAR "AURORA

Pendule au char d'époque Charles X datée de 1818 en bronze doré au mercure symbolisant le levé du jour représentant Aurora brandissant un flambeau tiré par deux zéphirs divinité du vent et d'un angelot tenant une corne d'abondance.
Elle est estampillée de Jean Ledure fils de Pierre Victor Ledure 1783 /1840 mouvement à fil de soie sonnerie des heures et des demies sur un timbre parfait état.
Dimensions:
Hauteur : 53 cm
Largeur : 54 cm
Profond: 16 cm

 
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NAPOLÉON BONAPARTE FIST CONSUL AFTER LOUIS-SIMON BOIZOT

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NAPOLÉON BONAPARTE FIST CONSUL AFTER LOUIS-SIMON BOIZOT
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LANDSCAPE WITH PEOPLE, FRENCH SCHOOL, RESTORATION PERIOD

SOLD

LANDSCAPE WITH PEOPLE, FRENCH SCHOOL, RESTORATION PERIOD