Drawing by Raffaele Postiglione Leaving for War 19th Century - Departure for the war

Oil painting on canvas. The portrait of the young man, elegantly dressed, is inscribed in an oval outline. There are slight drops of color and signs of sagging of the canvas. It therefore needs restoration. It is presented in a coeval frame, with various signs of wear, to be restored.

Painting on paper. Persian painting, which has very ancient origins, is mainly characterized by the illustration of manuscripts and books, which required small-format images, precisely the miniatures; which came into vogue in Iran with the conversion to Islam in the eighth century, it wanted to propose illustrated texts of various types (from historical to literary, from religious to scientific) with the intention of telling the uneducated people the content of the book. The works being illustrated are, in fact, the classics of Persian literature and there are scenes of war and heroism, historical facts but also amorous and mystical themes. The small images, precisely the miniatures The miniaturists used natural colors that they extracted from plants or particular stones, gold and silver were also used a lot. Artists made special brushes and papers. In the Persian miniature there is no perspective and there is no fixed light coming from a determined point, the way in which the lines are formed and how the colors are given are very important, which must be perfect, often lively and must be combined in a that please the eye of the beholder. The six scenes presented here, probably taken from books due to the presence of accompanying texts, offer scenes of hunting, war and love or family life. They are presented in gilt frames from the early 1900s, which have small drops of colour.

Oil painting on canvas. Against a light green background, there is a composition of variegated flowers in a vase, placed on the shelf of a rustic sideboard on which a butterfly has also settled. Marked cracking of the green color of the background. The work is presented in a coeval frame, with several shortcomings.

Oil painting on canvas. A mountain village, with stone farmhouses, is enlivened by various figures intent on daily popular activities: the woman stands out in the center foreground, folding large white sheets, perhaps freshly washed sheets at the stream that can be glimpsed to the left, beyond the walls. The painting is presented in a gilt frame from the mid-1900s.

Concept of a Young Figure

Mixed technique on paper; drawing cut out and applied on cardboard. Signed lower right. It is a small study, probably to be included in a larger scene, of the figure of a child carrying a basket of vegetables on his head, still undefined but sketched with traces of green; the boy is dressed only in a short shirt. Neapolitan painter, but also museologist and teacher of figurative arts, Dalbono trained in the Neapolitan verismo movement which referred to the School of Resina. He loved the landscape, which he portrayed from life, preferring the hours of dawn with its play of light; but he also produced many genre scenes, with popular bourgeois subjects, animated by different figures and always with Naples as a background, its views and its landscapes, told with suffused atmospheres, full of poetry. The painting is presented in a period frame.

Landscape with River and Figures

Watercolor on paper. Signed lower right. Giuseppe Gabani, who was a Cavalry officer and participated in many uprisings of the Risorgimento, stood out in particular for his equestrian subjects, battle scenes, orientalism, made with vivacity of color and pictorial emphasis. Here instead we have a delicate watercolor of his, which offers a landscape with a river flowing in the countryside and walking figurines: in Gabani's production there are actually many of these landscapes, calm in colors and rather pervaded by peace and tranquility. In coeval frame.

Wooden sculptures. It is a composition of two wooden heads, a male one and a female one, placed on a board and framed by a gilded frame of 19th century. The heads might had been the handles of a canteran of 17th century.

Divorce de l'impèratrice Josèphine

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804-1880), which recounts the episode of the divorce of Emperor Napoleon Bonaparte from his wife Josephine, which took place on 15 December 1809 in the Tuileries palace in Paris, and signed in the presence of Bonaparte family. Engraved by Jean Pierre Marie Jazet, it is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Matinèe du dix-huit brumaire (salon de Mme. Bonaparte)

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804–1880), which recounts a moment in the 18th Brumaire, the day of the coup d'état carried out by Napoleon Bonaparte which led to the fall of the Directory and sanctioned the end of the French Revolution. Engraved by Jean Pierre Marie Jazet, the engraving is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Group of nine plaster casts for medals of different shapes and with different subjects: an Holy Family from SImone from Pesaro, a "charity", " Venus and Love", two potraits of nobles and a diety's face, other of historical-mythological theme. Displayed in coeval frames.

Oil on cardboard. The mountain landscape presents a group of houses along the trail which a small figure is walking on. The painting is presented on an early '900 frame with some defects.

Oil on cardboard. The wide landscape presents a river, animated with figures and boats, that runs through the wide valley and which the small castle overlooks. The painting, that needs cleaning, is presented in an early '900 frame with some defects.