Rural Nightscape With Goats Mixed Technique On Cardboard 18th Century

Oil painting on canvas. On the back there is a scroll with an old attribution to Hubert Robert (1733 -1808), a French painter who traveled in Italy bringing back various picturesque views and glimpses, populated by architectural ruins. In this work, the glimpse of a hilly countryside is set in a village with farmhouses and a fountain in the centre, in the midst of which however there are also classical architectural ruins: in the center three columns of a temple, further on the left the ruins of an amphitheater. Several popular figurines wander among the structures. Restored and relined, the painting is presented in a frame.

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Tempera on canvas. The painting is part of a series of gouaches depicting the Allegories of seasons. The landscape depicts the remains of a fortress with some figures walking and others on a cart. The swallows are flying over the green trees. Presented in coeval frame. Late 18th century.

Tempera on paper on etching. French school from about 1750-1770. Refined colouring of a coeval French print. The oriental subject is a young Chinese man who hints at some dance steps on an outdoor trail, under a plant of exotic fruit. The quality of the piece reminds of the French Rococo production, like those of François Boucher (1703-1770) or Jean Pillement (1728-1808), who both contributed to the spreading of the liking for Chinese representations in Europe. Pillement was the author of numerous drawings and etchings of Chinese taste, collected in two volumes (1767-71) and widely spread in Europe as models. The drawing needs cleaning and restoration. It is mounted on cardboard and comes with a frame.

The Birth Of Venus

Pen and brown ink drawing on paper. Writing on the back from the early '900 that describes the drawing as preparatory for decors and glass windows. There is also a paper label from a historic private collection. It is one of the first preparatory sketches for the scene of "The Birth of Venus", of which we know later sketches, expanded and enriched with more details. The sketch is presented in a XIX century frame.

19th century painting

Oil on wooden table. In the homonymous book of the Bible the story of the prophet Daniel is told that King Darius the Medus, deceived by his court rivals jealous of his rank, condemns death and has him thrown into the lions' den. Discovering the deception, the king at dawn the following day hurries back to the pit and finds Daniel alive, who tells how God had sent an angel to shut the lions' jaws, "because I was found blameless in front of him. ". The biblical episode has been depicted many times in art, both pictorial and sculptural, given the strong narrative and educational impact. The painting went to public auction on 25 October 2018 as a "Lombard school of the seventeenth century", but in our opinion it is a later, nineteenth-century work inspired by ancient pictorial ways.

Musketeer with Arquebus 1875

Oil on wood. At the bottom right the signature, date and location. The Peruvian painter Daniel Hernandez stayed in Europe for a long time, first in Rome where he dedicated himself to the study of classical painting, then in Paris, where he was influenced by impressionism. he was a portraitist and genre painter. In this work, from the Roman decade, Hernandez portrays a character from popular history, a musketeer (or perhaps a brigand?) armed with a harquebus, standing close to a stone wall adorned with a coat of arms. The work is presented in a period frame.

OIl on canvas. North Italy School. Small glimpse of a steam that flows between the houses; we can see two figures, one is a soldier that is passing under the bridge on his boat; the other man is crossing the bridge while pulling a dunkey that is pulling a cart. The painting needs to be restored because of several drops of color of which the biggest one is on the left side of the bridge. It comes in a gilded coeval frame.

Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.

Pencil, charcoal and white lead on paper. SIgned (Amalia Bianche?) and dated at the bottom right. Very effective is the use of different pigments that creat a play of chiaroscuri underlined by the figures. The portrait come in a 19th century wooden frame that had been embellished with leather floral and leafy inserts. It shows small drops of color and missing parts.

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.

Crayons on cardboard. Elegant portrait of a young lady, with a floral garland like a necklace. Presented in a contemporary golden frame.