Pair of Appliques Carved Wood Metal Italy '800

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century frame.

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century 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.

Genre scene

Tapestry with genre scene set in the countryside: a young man defends himself with a spear from the assault of a group of stray dogs. The tapestry fabric has several horizontal cuts, especially in the upper half.

Madonna and Child with Adoring Women

Oil on canvas. Signed lower right. Born in Milan and trained at the Brera Academy, Giuseppe Ghiringhelli exhibited for the first time in 1900 at the Milan Triennale, and subsequently participated in numerous national exhibitions. He devoted himself mainly to landscape and portraits, but in his production there are also several representations of the sacred maternity, depicted with intense luministic effects. An example of this is the work proposed here, a true celebration of Motherhood understood as a central element of life: around Mary and the Child, facing forward to look at the world, other women gather, looking adoringly at the two central figures. , bringing free flowers. The work has a slight tear. It is presented in a contemporary frame.

Oil on canvas. Eastern European School. Signed Szego G. below. These are two works to be proposed aligned because they depict a boy and a girl lying on the same lawn in a mirrored position, as if facing each other, probably intent on a love game: they wear gypsy clothes and have musical instruments with them - she a tambourine and him a violin - which refer to two characters of Slavic ethnicity, from the gypsy world. The whole is lively and serene. The two works are presented in styled frames.

Oil painting on canvas. Wide country landscape, with leafy trees, a path leading to the river and the small village in the distance. Traditional landscape for decorative purposes, typical of the 18th and early 19th century production. Subjected to restoration in the last century, the chassis was changed. Style frame.

Russian icon of the 19th century

Tempera on wood. On a gold background Saint Nicholas is represented half-length, with a dress decorated with crosses, blessing with his right hand while the left hand holds the Gospel. Inscribed in two small circles on the sides of the saint's head, two other figures of saints. Originally from Asia Minor and bishop of Myra in the same region, St. Nicholas (250 -326 AD) is one of the most revered and loved saints in the world. It is also called St. Nicholas of Bari because in 1087 a naval expedition left from the city of Bari took possession of his remains, which in 1089 were definitively placed in the crypt of the Basilica erected in his honor. The table shows small drops in color; on the back, there are wax castings, probably of devotional candles.

Oil on canvas. North European school of the 19th century. A wide landscape close to steep reliefs, sees a wide river flowing in the valley, animated by barges and popular figures intent on various activities. The landscape and the pictorial typology, in particular the brown and dark color choices, refer to the countries of Northern Europe. The canvas shows signs of patches on the back. It is presented in a stylish frame.

Russian icon of the 19th century

Tempera on wood. On a gold background Saint Nicholas is depicted half-length, with a dress decorated with crosses, blessing with the right hand while the left holds the Gospel. Inscribed in two small circles on the sides of the saint's head, two other figures of saints. Originally from Asia Minor and bishop of Myra in the same region, St. Nicholas (250 -326 AD) is one of the most revered and loved saints in the world. It is also called St. Nicholas of Bari because in 1087 a naval expedition left from the city of Bari took possession of his remains, which in 1089 were definitively placed in the crypt of the Basilica erected in his honor. Several woodworm holes in the wood.

Snowy Landscape with Figures 1872

Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.

Oil on canvas. Under the canvas a plate shows the data of the scene: the battle that took place on May 5, 1836 in San Sebastián, during the First Carlist War, is depicted, in which the Spanish troops opposed to the English ones commanded by General George de Lacy Evans. Carlist wars are the discontinuous but persistent civil wars that were fought in Spain during the nineteenth century, and which saw the counter-revolutionaries and Catholics who fought for the maintenance of tradition in the Spanish monarchy, against the liberalism promoted by the Queen Isabella II of Spain and all that it entailed. The British sided in favor of the liberals. The work, restored and relined, is presented in a coeval frame from the end of the 19th century.