Male Portrait Oil on Canvas Lombard School 19th Century

Oil painting on canvas. Signed lower right. Mary breastfeeding her little son, under the loving gaze of Saint Anne: this is the theme of a sacred nature but proposed in a very human key, which underlines the sweetness of the mother-child relationship and of the family. Giuseppe Ghiringhelli was mainly a landscape and portrait painter, but in his production there are also various representations of the sacred Maternity which, like this one proposed here, are permeated with intimacy and sweetness and characterized by intense lights effects: in this work in particular it is suggestive the effect of the light that radiates from the little head of the child placed in the centre, on the faces bent over him of the two women, and then reverberates on the clothes and in the background, where the shadows created can be glimpsed. The work is presented in a frame from the first half of the 1900s.

Oil on canvas. Tacito in the Annales tells the deail of Seneca's death wanted by Nero who was Seneca's pupil and who accused ihm of taking part in a conspiracy against him. This theme had been often painted because of the intense pathos that it tranmits: Seneca chose to suicide himself rather than being killed by an executioner and in the painting is represented on his deathbed with the doctor that is witnessing his death while he is dictating his last wishes and his wife Paolina is crying. The painting has several color drops that need to be restored. Displayed in a coeval gilded frame from 20th century.

Composed of woodblocked sheets, sewn together and partly colored, with matching figures and texts. The group consists of 23 booklets, of which two in three copies and one in four copies; another couple has the same cover but different contents. The booklets can be considered as "manga" of the nineteenth century: the word "manga" still today can designate many different productions, such as single cartoons, scattered drawings, more elaborate illustrations, comic strips, comic books, as well as animated drawings. Therefore, starting from the assumption that there is no "manga form" but different ways of conceiving objects and graphic forms all denominated with this word, the term manga can be attested in literary and essayistic use in Japan as early as the eighteenth century to indicate, as mentioned above, drawings and sketches. But it is from the first half of the nineteenth century that Katsushika Hokusai's 15 volumes of illustrations, studies, graphic entertainment and detailed bichromatic prints became established, thanks to the progressive publication, starting from 1814. If, on the other hand, we want to give the word the more specific meaning of “stories drawn in sequence”, then the debut must be placed in the second half of the nineteenth century, similarly to what happened in Europe and the United States for comics. The booklets are in good condition.

The Guns Dealer in Alexandria

Oil painting on canvas. At the bottom right the signature of an unidentified artist. On the frame, a plate with the title in French, which locates the scene in Alexandria, Egypt. In a street of an Arab city, with white houses reflecting the light under a clear sky, an old merchant offers weapons to another man, who is cocking the long musket he is holding as a test. The intense luminosity typical of orientalist subjects dominates, in vogue in the nineteenth century. The painting has a patch on the back; it is presented in a stylish frame.

Oil painting on canvas. Signed top left. Further signature, Rome location and date on the back. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. In this composition, two pheasants are lying in the center surrounded by pomegranates and bunches of black grapes, while in the background on the right, thanks to the reflection of light, two bottles of wine are barely visible. The painting is presented in a carved wooden frame from the early 1900s.

Pastoral Scenes

Oil on panel. Decorated with pastoral scenes on a monochromatic light green background, with couples, children, farmers depicted during moments of rest and conversation, in the guise of the models from the 18th century. Probably wooden panels from the doors of furniture, the paintings have been recently mounted on wooden frames. They present some paint losses and spots, especially where the background is.

Watercolor on paper. Signed Borrani and dated 1881 in the lower left corner. Meticulous and detailed glimpse of a Gothic church interior, in particular the pulpit decorated with panels carved in bas-relief with scenes from the Passion; in the background, the bright and colorful mosaic windows. Despite the signature, it is not attributable to the Tuscan painter Odoardo Borrani, a talented Macchiaiolo. The painting is presented in a styled frame.

In Val di Susa

Oil on the table. Signed lower left. On the back there is a partially torn cartouche with the name of the author, the title and residue of the label shows on the Italian landscape. Born in Domodossola and approaching painting and sculpture as a self-taught, Follini subsequently studied at the Accademia Albertina in Turin, as a pupil of Antonio foranesi. Skilled landscape architect, he chose and dedicated himself exclusively to this subject, portraying, with great poetry, many views of the Alps but also seascapes and landscapes of the places he met in his frequent travels to Italy and Europe. Praised by critics and supported by collectors, he participated in major exhibitions with a dense production, characterized by an elegant stroke and a loose and expressive brushstroke. In this painting an Alpine glimpse with a pastoral figure is proposed. It is presented in a contemporary frame.

Oil painting on canvas. French school of the late 19th century. At the bottom left is the signature P. Detanger, unknown author. Intense portrait of a noblewoman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. Portrait of an austere gentleman, in a meditative pose, a man of letters or a scholar depicted in his study, with books scattered on the desk behind him. Restored and relined, the painting is presented in a period frame.

Female portrait 1869

Oil painting on canvas. Signed and dated on the right. Little is known about this French artist, who was basically a portrait painter, as his known production all fall into this category of subject. The painting denotes expressive intensity and good pictorial ability. Restored and relined, it is presented in a period frame.

Oil on canvas. The girl is sitting on a step in a garden; she holds a pansy in her hands and at her feet are some cut roses, from the potted plant behind her; in the background on the right, you can see the sea in the distance. The shades of rotten green dominate, fading from the sky, to the girl's dress, to the plant, maintaining a chromatic uniformity interrupted only by the rosy face and hands and scattered flowers. The painting. restored and relined, it is presented in a frame built on an ancient wooden base.