Drawing Inspired by Raffaelo Colored Pencils on Paper 19th Century

Watercolor on paper. Signed lower right "Marquis de Salis". The sympathetic scene depicted is set inside a school of nuns, as indicated by the abcedary on the ground below; the characters are filmed in the moment of prayer: they are all kneeling, the superior in front of the altar with the Crucifix leads the prayer, while all the children follow her, more or less composed and attentive, supervised by another nun. The work is presented in a style frame.

Charcoal on paper. Unidentified signature with date to the right of the face. The name of the young woman portrayed, Teresina Rota di Valsecca, is mentioned on the back, with a further date. The work is presented in a coeval conception.

Studies of Nature

Group of 12 etchings on a hardboard notebook. From the catalogue raisonné of Kobell's works, published in 1822 by Baron de Stengel, it is also possible to recover the titles of the individual engravings, which depict figures from popular life. The first one also has the title: "Etudes d'après nature, dessinées et gravées par Ferdinand Kobell,...". (Studies from life, drawn and printed by Ferdinand Kobell), with the Parisian locations mentioned below. The titles of the other figures, in the order of their presentation in our collection, are as follows: Return from the Market, The Beggars, The Messengers, The Stonemason (Sculpture Seller), The Brush Seller, The Vegetable Seller, The Hat Seller, The Junk Dealer (Print Seller), The Peasant at the Market (Sleeping), The Second-hand Clothes Dealer, The Blind Man.

View of the Badia Fiorentina

Watercolored etching. Bottom left the words "Ios. Zocchi del.", Right "Vincen. Franceschini Firenze". This is a view taken from "Choice of XXIV Views of the main districts, squares, churches, and palaces of the City of Florence", collected in 24 sheets engraved on drawings by Giuseppe Zocchi on behalf of the Marquis Andrea Gerini and published in Florence in three editions between 1744 and 1757. The one performed by Vincenzo Franceschini corresponds to the second edition, published in 1754. All of Zocchi's production, which had a great international success, represents a precious document of images of architecture, gardens and countryside. Italy of the century of the Enlightenment, thanks to the accuracy and precision of the reproductions. The print is presented in a frame.

Fabric embroidery. The fragment belonges to a bigger scene of John Baptist's birth with his father Zaccaria sitting in the corner while writing his name and her mother Elizabeth supervises from the bad the care given to his son by the servants. The fabric has holes and signe of wear. Revival Frame.

Interior with fireplace

Oil on canvas applied to cardboard. Signed lower left. Accompanied by authentication on photo from the Orler Collection. Inside a popular house, equipped with kitchen tools, a young woman is sitting in front of the lit fireplace, intent on cleaning vegetables; from the upper left window the light of a bright and clear day enters, which radiates into the gray and poor kitchen. The work is well part of the production of Domenico Induno, the Milanese painter who was a pupil of Francesco Hayez, who after his beginnings mainly devoted to historical-Renaissance painting, from the 1950s turned his production towards genre scenes, set indoors. domestic and with poor and derelict protagonists. Intimate scenes, often with few characters, turned into a melancholy and modest emotional tone, sometimes even desolate, which however were pictorially animated by that quick and flickering brushstroke, by that mobile and brilliant touch, which would increasingly characterize the style of the Induno . He achieved great success with his production, which earned him numerous awards and a following among the younger painters. He was also an established portrait painter. The work is presented in a style frame.

Oil on canvas. The gentleman, elegant in his black suit with waistcoat, bow tie and watch chain, holds in his hand an envelope on which the name of the recipient, Mr. Carlo Galli, is legible, a device that allows the portrait to be identified. The work has small drops of color in the lower part. It is presented in a coeval redorated frame.

Oil painting on canvas. An elegant lady in black, with refined white lace at the neck and wrists that lighten her outfit, is sitting on a red armchair and leaning on the marble top of a round table, flaunting the rings on her hand. The work is presented in a coeval redorated frame.

Oil on canvas. The painting is part of the nineteenth-century production of Grand Tour, which had an obligatory stop in Tivoli for its architectural riches. Tivoli is identified by the temple of Vesta which rises on the cliff to the left, under the rugged and rugged peaks of the Tiburtini Mountains on which the town stands. Under the cliff, just after a lively waterfall, the river flows, on which intense human activity is raging: in particular the activity of the boatmen who ferry travelers towards the mill on the other bank is depicted. The painting is presented in a styled frame.

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Oil on the table. English school of the late 19th century. Pleasant rural scene, with numerous figurines of wayfarers and shepherds with the beasts, scattered in the wide meadows and on the path that leads to the river; in the background a blue lake, with ruins. The painting has slight color drops. It is presented in a stylish 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.