Celebrative Painting With Flowers Oil On Canvas Early '900

Ritratto muliebre

Oil painting on canvas. Signed lower right. On the back there is a label from the Manzoni art gallery in Milan, with the title of the work. The Venetian Giacomo Favretto established himself as the best narrator of the popular everyday life of the lagoon. He loved to represent scenes of everyday life taken from the popular neighborhoods of Venice, which he knew well as coming from a lower class family. Here Favretto proposes the portrait of a no longer young middle-class lady, dignified in her severe dress but embellished with lace and some jewels. Small drop of color in the centre. The painting is presented in a coeval frame.

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

View with Ruins

Watercolor on paper. Signed lower right. Salomon Corrodi established himself as a landscape painter, creating a large production of views especially of the Roman countryside, but also of the Amalfi coast, Naples, the Ligurian Riviera, which was widely successful throughout Europe. He preferred the watercolor technique. The painting has traces of breakage, to be restored. The work is presented in a period frame.

The Scribe

Oil on cardboard. Signed at the bottom right. Beautiful painting by the painter from Bergamo (Italy). Romualdo Locatelli studied at the Carrara Academy and then, guided by a strong passion for trips, he traveled a lot in Italy and abroad in Africa and Orient. During the World War II he moved to Manila in the Philippines, where he stayed until his death. His works belong to public and private collection all around the world, especially in Orient where he probably made his better works and is still known as the "famous Romualdo". His natal city Bergamo dedicated him many exhibition. The painting depicts an oriental subject, a character of the Oriental popular life typical of the places the artist visited. The face of the depicted person was cleaned because it had extremely pronounced facial features compared to the shade given by the hat. The features were inappropriate considering the man's race (before and after cleaning in the pictures). Presented in frame. 20th century.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Composed of woodblocked sheets, sewn together and partly colored, with matching figures and texts. The group consists of 23 booklets, of which two in three copies and one in four copies; another couple has the same cover but different contents. The booklets can be considered as "manga" of the nineteenth century: the word "manga" still today can designate many different productions, such as single cartoons, scattered drawings, more elaborate illustrations, comic strips, comic books, as well as animated drawings. Therefore, starting from the assumption that there is no "manga form" but different ways of conceiving objects and graphic forms all denominated with this word, the term manga can be attested in literary and essayistic use in Japan as early as the eighteenth century to indicate, as mentioned above, drawings and sketches. But it is from the first half of the nineteenth century that Katsushika Hokusai's 15 volumes of illustrations, studies, graphic entertainment and detailed bichromatic prints became established, thanks to the progressive publication, starting from 1814. If, on the other hand, we want to give the word the more specific meaning of “stories drawn in sequence”, then the debut must be placed in the second half of the nineteenth century, similarly to what happened in Europe and the United States for comics. The booklets are in good condition.

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.

Oil painting on canvas. French school of the late 19th century. At the bottom left is the signature P. Detanger, unknown author. Intense portrait of a noblewoman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. Portrait of an austere gentleman, in a meditative pose, a man of letters or a scholar depicted in his study, with books scattered on the desk behind him. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. The great scene, told in the Gospels, presents the messianic entry of Jesus into Jerusalem, on the back of a donkey and acclaimed by the cheering crowd who recognize him as the Messiah. The painting, on the first canvas, has several drops of color and needs restoration and cleaning. It is presented in a late 19th century frame.

Oil on cardboard. Italian school of the 19th century. The pastoral scene sees on the left a flock of sheep and cows drinking and refreshed in the river; on the right bank, under a tree, the shepherdess is resting with her little son who, after having eaten their meal, play with a wooden loom. The bucolic scene is serene and peaceful. The painting is presented in a late 19th century frame.

Oil painting on canvas. Of a bucolic and serene flavor, the scene set in the countryside on the edge of the village that can be glimpsed on the left, sees a woman and her son who, near a stream, await the shepherd with his flock with a lunch basket . Restored and relined, the painting is presented in an antique frame.