Barocchetto Revival Mirror France 19th Century

Oil on canvas. North-European school of the XIX century. A hunting dog, a setter, is barking inwards at an invisible interlocutor. The bird it has captured lies on the ground. There are some very small holes. The work is presented in a late XIX century frame.

Drawings on rice paper. They represent four scenes of popular life without backgroun but just human figures with few elements that define the scene. One of the drawers has small missings. The drawings come in a Empire frame.

The Devil's Bridge in Val di Lanza 1897

Oil on the table. Dated 1897 lower right. On the back the title and attribution to Lorenzo Delleani. The proposed landscape foreshortening recalls the pictorial production of Lorenzo Delleani, who in the last decades of the 19th century devoted himself mainly to "en plein air" landscape painting, above all of the places of his origins, the Piedmontese valleys, characterizing his foreshortenings with chromatic vibrations and warm luminosities. In this glimpse of a valley in Piedmont, animated by small peasant figures crossing the stone bridge, the warm and suffused colors stand out well, created with quick brushstrokes and with soft edges. The work is presented in a period frame.

Oil on wooden board. Signed lower right. Title and location on the back. Enrico Intraina was a Milanese artist who mainly produced landscapes and glimpses of his places, remaining linked to Lombard Naturalism. The painting is presented in a coeval frame.

Gouaches on paper. The two small paintings offer Neapolitan views, identified by the inscriptions below: on the left, the eruption of Vesuvius in 1794, on the right, the entrance to the Grotte di Pozzuoli. Typical Grand Tour works, practically delicate and detailed postcards. They are presented in a single frame.

Landscape with Sheeps and Shepherds

Oil painting on canvas. Signed lower right. An Alpine winter landscape, with sheep drinking from the stream in the middle of the pine forest, rendered with brushstrokes and thick, almost material chromatic mixtures, typical of the painting of Lucia Crotti, an artist from Monza who specialized in landscapes. The work is presented in a frame from the early 1900s.

The Artist and the Young Woman

Oil painting on canvas. French school of the 19th century. Tasty genre scene set in the studio of a young and blond painter, distracted from his work by the girl who, with her basket of vegetables on her arm, places a sweet kiss on his forehead, probably to reward the pictorial work she is pointing to with the finger outstretched. Lively in the colors, as well as in the attitudes of the characters, rich in furnishing elements and details, the work appears successful and has a pleasant effect. It is presented in a coeval frame.

Oil painting on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this one, a beggar wrapped in a tattered blanket stretches out his hand on the path. Presented in a stylish frame. Small drops of color at the top.

Oil on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this, a wayfarer, an elderly woman of the common people leaning on a stick, is counting the coins she has received in her hand... or perhaps those she wants to donate? Presented in a period frame, the painting has some small drops of color and a small hole in the centre.

Oil on canvas. Lombard School. It belongs to an important milanese family. Portrait of a gentleman that is holding a chain with a coat of arms in his hand. The painting shows some color drops and comes with coeval gilded frame.

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.