19th Century Frame Italy

Wood Nymphs

Oil on cardboard. Signed lower right. The Cremonese artist Antonio Rizzi includes in his production several works that have the mythological nymphs as their subject. In particular we remember the "Nereids under the moon", a work dated 1906 and preserved in the Ala Ponzone Civic Museum in Cremona. The work proposed here instead depicts the Nymphs of the woods, girls riding naked on the backs of donkeys, coming out of the woods in a festive and playful procession. The work is influenced by the Liberty style, which Rizzi knew above all in his Roman period. The work is presented in a 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.

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Oil painting on canvas. Northern European school of the 19th century. This evocative nocturnal view with the full moon illuminating a cemetery, dominated by the large Crucifix on the left and with a bat hovering on the right, fits well into that secular meditation on the theme of the cult of the dead and burial which since the mid-eighteenth century he fascinated Europe, giving rise to an elaboration of a modern concept of cemetery, with the recovery of a dignity - as well as a wholesomeness - of this place. Added to this are the romantic reflections on the man-nature relationship seen as an affirmation of the ineluctable finiteness of the human being as opposed to the infinity that surrounds him; therefore we arrive in painting to represent tombs and cemeteries, symbols of finiteness and transience, always enveloped, almost surrounded by nature, a sign of infinity, of life that continues. As in this work, where the moonlight, which pierces the dark clouds, restores clarity and therefore life to the cemetery. The work, relined and restored, has small drops of colour. It is presented in a late 19th century frame.

Still Life with carpets, jewels, fruit and a mirror

Oil on canvas attributable to Antonio Gianlisi. According to the different depicted objects such as a shirt thrown on an armchair, some jewels, a dressing table with mirror, some fruit and a tray with a pitcher and glasses, the still life could be located in the private room of a rich woman. Restored and relined, presented in an antique coeval frame. 18th century-19th century.

Male Portrait 1877

Pencil on paper. Signed and dated lower right, in the oval. It is an early work by the well-known sculptor Luigi De Paoli, corresponding to the years of study at the Venice Academy. He also devoted himself to painting only in the last years of his life. The work is presented in a late 19th century frame.

The Showdown

Oil painting on canvas. French school of the 19th century. In the tasty scene, a satirical episode linked to the French revolution is presented: on a carriage that bears on the door the three lilies of France with the initials LR, referring to the royal dynasty (Louis roi?), some people seem to want to leave hastily, while an innkeeper holding the bill tries to get paid, however held back by a guard. At the top left, the sign of the tavern reads "L'agneau a moderé", or "The lamb has moderated", an ironic expression meaning that until then it was tolerated (the regime) thanks to the sacrifice of someone, but the moment of reckoning has now come. Restored and relined, the painting is presented in a period frame.

Still Life

Tempera on canvas. Chaekkori, which translated literally means "books and objects", is a type of painting of the Still Life genre belonging to the end of the Korean dynastic period called Choson (1392 -1910), in particular which developed from the second half of the 18th century to the first half of the '900, which was widely successful in all social states, to express the love for the culture of the Korean population. It is characterized by the depiction of various objects that define the man of letters, in particular books are always present, as in this one proposed here, in which a goose pen for writing is placed side by side, a set of porcelain bowls, a fan folded in its case. Relined and restored, the painting is presented in an early 1900s frame.