Oil on cardboard, applied on wood. Signed lower right Previati. The young woman portrayed is shown from behind, with her head turned sideways, staring into the distance; she wears an older style dress, which leaves the shoulders uncovered, and on her head a crown of roses intertwined with ribbons, which stand out chromatically recalling the white and pink colors of the young woman's complexion. The painting is presented in a frame from the early 1900s, adapted.

Egg seller

Oil on hardboard. Signed lower right. On the back, further authenticated signature, with the title and location of the artist's studio. The affable and wrinkled face of an old farmer is portrayed, offering his eggs with a simple and dignified gesture. Campestrini, born and lived in Milan where he also taught at the Brera Academy, distinguished himself above all as a painter of figures, preferring to portray the faces of villagers, villagers, fishermen. He also created landscapes, alpine or of the Ligurian countryside, as well as views of Milan. Although he had been a pupil of Bignami, he remained far from the clamor of the avant-gardes. He himself liked to define himself as a "figurist painter who devotes himself in particular to the mountain subject, to the religious one and other landscape themes". The work is presented in a style frame.

Oil on canvas. Signed Anibal and dated 1849 in the lower left corner. The scene offers the glimpse of a river landscape, with the wide and peaceful watercourse flowing in the middle of a green countryside and near a small village, and animated by numerous figures of fishermen and laundresses intent on daily occupations. The painting has a slight tear on the left and a sign of previous repair on the right. It is presented in a coeval redorated frame.

Vase with Flowers, 1957

Oil on the table. Signed and dated lower left. It is the work of the Milanese painter Piero Gauli, who joined the current group, creating a painting characterized by a strongly expressionist style, full of colors and rich in reds of Venetian ancestry, who digs the material like a hard-working sculptor. The painting is presented with a brass profile, inserted in a contemporary wooden frame.

Italy XVIII Century

Group of three pairs of torches in turned and lacquered wood.

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.

Oil painting on canvas. It is a vintage copy of the engraving of the same name made by Annibale Carracci (1560-1609), which had immediate success and gave rise to a series of printed replicas and painted copies. It presents the moment of the Passion in which Christ is crowned with the crown of thorns, the object of torture, the disparaging symbol of his proclamation as King of Kings. The act is performed by two figures, the Roman soldier and the Jew, representing the two people who they took part in Christ's death sentence. The figures, vigorous and sanguine, those of the two tormentors paler and more inert than the victim, create an intertwined composition of bodies, with that of the central Jesus joining the other two, uniting them in the shared responsibility of what they are doing; placed sideways, Jesus has his head bent forcibly to the left by the soldier who imposes the crown of thorns on him, while the Jew on the right places the bamboo cane in his hand, replacing the scepter. The scene is dominated by gloomy and dark colors, among which only the bright red of Christ's robe stands out, a symbol of his suffering humanity. The painting has been restored and relined. It is presented in a beautiful coeval frame, with shortcomings.

Italy Mid 20th century

Pastoral 5-light Murano glass chandelier, Italy mid-20th century. Colored glass pendants.

Oil painting on canvas. A large landscape of hilly countryside, with the river flowing to the left, sees some small popular figures on the path to the right, travelers in conversation. The painting has undergone color cleaning. It is presented in a contemporary frame.

Colored boats, Porticello, 1929

Oil on the table. On the back, a title block with the author's signature, title, location and date. Born in Sicily in 1882, but artistically trained in the USA where he had moved while still a child with his family, Guarino was a painter and engraver, who painted the places of his life with large brushstrokes and bold colors. The work is presented in a contemporary frame.

Oil on the table. Spanish school of the seventeenth century. The gaze of this little girl is intense and penetrating, portrayed half-length in a delicate pink dress embellished with a lace collar, but with her hair held back in a lively and fluffy red cap, which gives a mischievous touch to the portrait. On the back there is an old attribution in pencil to Jacopo Chimenti known as Empoli. The painting is presented in an antique, gilded frame.

Oil on slate. Painted on a thick slab of slate, the scene presents the dramatic moment in which Mary, surrounded by a group of pious women, weeps over the body of her Son taken down from the Cross: she abandons herself dramatically in the arms of the two women behind her, while at the her womb rests the inert body of the Son, on whose hand a third woman weeps; above, a group of angels who look out from the open skies, from which the divine Light springs, participate in the lamentation. Mary is the only figure who wears brightly colored clothes, which contrast with the waxy color of the body of Christ resting on her lap, while the other women wear clothes in dull colors, just as neutral are the bodies of the little angels. The figures are placed on a dark background, in which the opening of the sepulcher can hardly be seen: the chromatic effect is rendered thanks also to the pictorial base used, the slate, a stone also known as the "blackboard", as the most important slate quarries are located near the town of Lavagna in Liguria. The pictorial modality recalls the works of Pietro Mera known as the Flemish, a painter originally from Brussels who lived between the 16th and 17th centuries: active for a long time in Venice, working from 1570 to 1603 in the service of Cardinal d'Este, Mera made extensive use slate as a pictorial support for some of his works. The material with its characteristic dark color allowed the artist to create intense luministic contrasts and to emphasize the figures, depicted with a bright chromatic range and illuminated by brilliant touches of light. In good condition, the painting is presented in an antique frame.