Large Gilded Frame Of Empire Taste Italy 19th Century

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.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Oil painting on canvas. The picture proposes a glimpse of the countryside centrally occupied by an architectural structure on several levels, a farmhouse in which arches, small columns, stairs and entrances intersect, all occupied by weeds. On the path and in front of the structure, the scene is enlivened by figures of peasants and common people. The rosy light from the sky spreads over all the elements, creating a romantic atmosphere. The work, relined, is presented in a late 1800s-early 1900s gilded frame, with various drops of color.

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.

Italy, 1852

White marble sculpture depicting the bust of a girl. On the back engraved signature of the artist and date of production.

Oil painting on canvas. The Magdalene, recognizable by her long hair, scantily dressed clothes and prayerful attitude, is placed in the lower right corner of a large landscape, at the mouth of the cave where the saint lived in penance. The landscape is Nordic in type, with a stream flowing between the rocks of a valley surmounted by wooded hills; in the distance the blue peaks of the mountains, under the leaden sky. On the back of the stretcher there is a pencil writing with attribution to Nicolas Poussin the French classicist painter of the seventeenth century, who was a model and example for those who wanted to follow the same stylistic orientation. Restored and relined, 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.

Oil on cardboard. Delicate portrait of a sober bourgeois woman, with a set of jewels and a delicate lace on the collar to embellish and lighten the black coat. The painting is presented in a coeval tray frame.

Campania Landscape with Figures and Buildings

Oil painting on canvas. Signed lower left. The landscape view offers a glimpse of a village on the slopes of barren rocky peaks, which refer to the Campania hinterland; some polar figures transit on the bridge which gives access to the village. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century 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.

Landscape with Figures and Bread Oven

Oil painting on canvas. Signed lower left. The landscape view shows in the foreground a mountain path that leads to a bread oven, where a woman prepares the bundles of wood for the fire, while a traveler approaches on the back of a donkey; in the valley the viaduct over the river that leads to the village, surmounted by other barren peaks. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.