Bas-Relief By Giulio Bracca Marble Italy 19th Century - Maria Dolente

View of Venice

Oil painting on canvas. Signed lower right. Several Venetian views of this English artist are known, with views of the Grand Canal populated by small boats with orange triangular sails; pastel, delicate and bright shades prevail. The work is presented in a stylish frame.

Oil on canvas. Central European School of the 19th century. The Holy Family, in very domestic and simple clothing, are standing outside a tent in a deserted area, which the pyramid at the bottom left allows us to place in Egypt, the place of the family's exile during Herod's persecution. A young shepherdess is honouring the Child with a lily, symbol of purity, and a basket of fruit, whose red colour is meant to allude to the Passion. Next to the human figures are the farmyard animals of the characters' domestic life, the family's faithful donkey and the girl's sheep. The work is presented in a carved and gilded wooden frame.

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

The Morning Toilet

Oil painting on canvas. The curious and ironic genre scene presents two women who, sitting naked among the bushes by the sea, are intent on their toilet, one dipping her feet in the basin full of water, the other busy tying her boots . Both have ironic and allusive looks which, without any shame in showing their roundness, are directed towards someone who is observing them. The painting has been restored and relined.

Oil on canvas. The painting is a copy of a work by Alexis Grimou (1678 -1733), executed in 1725 and now in the Uffizi Gallery in Florence. Grimou, also referred to as the French Rembrandt, had become a specialist in these costumed portraits, Spanish-style, but was rather repetitive in his choice of costumes for his portraits: this pilgrim, which exists in both male and female versions, was often used by him with small variations. The painting presented here also overlaps the dimensions of the original, which was evidently originally sold as a 'copy by. The young man, a teenager with his back turned to look back at the viewer, is presented dressed in a jacket with a gala collar and sleeves, with a pilgrim's flask tied to his hip and holding a pilgrim's staff with his right hand; the other hand hides his hat behind the back. The painting manages to reproduce rather well that range of colours from brown to warm red and saffron yellow that looked to Rembrandt, It is presented in a coeval frame.

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.

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.

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.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

Oil painting on canvas. An elegant lady in black, with refined white lace at the neck and wrists that lighten her outfit, is sitting on a red armchair and leaning on the marble top of a round table, flaunting the rings on her hand. The work is presented in a coeval redorated frame.

Oil painting on canvas. Neapolitan school of the nineteenth century. Typical example of Grand Tour painting, the painting offers a glimpse of the Gulf of Naples animated by numerous boats, of which in the foreground one of fishermen landing on the beach, where their wives and children await. In the background stands the smoking Vesuvius. The scene is lively for the vitality it expresses and for the colors, although the pink shades of the sky and Vesuvius recall the romantic note of the painting of the time. The canvas has small color drops. It is presented in a stylish frame.