Pair of Appliques Carved Wood Metal Italy '800

Oil painting on canvas. Unidentified signature lower right (Solini?). The man is portrayed with a headdress and home clothes, while holding in his hands an object that could be a snuffbox, to underline the dimension of domestic rest. The painting is presented in a frame from the early 1900s.

Oil painting on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this one, a beggar wrapped in a tattered blanket stretches out his hand on the path. Presented in a stylish frame. Small drops of color at the top.

Oil on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this, a wayfarer, an elderly woman of the common people leaning on a stick, is counting the coins she has received in her hand... or perhaps those she wants to donate? Presented in a period frame, the painting has some small drops of color and a small hole in the centre.

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.

Synoxis of Saints with Mary and Christ in glory and Archangels.

Tempera on wood with metal riza, gilded in correspondence with the halos. The icon sees in the lower half a group of six saints, whose name is indicated in Greek characters, while in the upper part there are Mary and Jesus in Glory, flanked by archangels. The saints depicted are, from left to right: St. Gregory the Great, St. Basil the Great, St. John the bishop, St. Peter the apostle, St. Paul the apostle, St. Andrew the apostle, all important saints in the Orthodox commemorative liturgy. The figures are inscribed in a floral decoration. In the church of the first centuries, the synaxis (from Gr. Sýnaxis: assembly) was the meeting of the faithful for the reading of the sacred books and for the Eucharistic celebration. Sinassi therefore alludes to the presence of a group of people (angels, saints and saints, metropolitans and monks) who surround a central representation, therefore in iconographic art it corresponds to a group of saints or angels that surround Christ or the Madonna to glorify them. In the Orthodox liturgy such icons are usually exhibited and celebrated on the day following that of an important feast in which these Saints were co-protagonists. The icon has small diffuse color drops. Wooden reinforcement on the back. The riza is currently disassembled from the table, it requires a small intervention to get back into shape for reassembly.

Pastels on paper. Early 19th century. The father, mother and three children appear in the family group, two of whom are holding toys. On the back there is writing that identifies the family portrayed in that of the Breno marquises. The writing also says "one of the children (with the vest) is Domenico, husband of Giulia Caronesi". The painting is presented in a contemporary gilded frame, with shortcomings and small years.

Figure with flowers

Oil on canvas. Signed lower left. On the back further signature and dedication with declaration of authenticity. Influenced in his Parisian years by contact with Expressionism, Fantuzzi placed a marked emphasis in his works on the expression of emotions, of moods. His figures are therefore summary, never completely defined, rather deformed into elongated forms, the faces anonymous, and placed in solitary and melancholy settings; On the other hand, color dominates in his canvases in its most marked ranges, usually the cold tones of blues, greens and purples, which create sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communication in interpersonal relationships, often expressed in solitary figures like the one presented here, a woman with a bunch of flowers in her hand, on a fiery red background, devoid of other figures. The work is presented in a style frame.

Divorce de l'impèratrice Josèphine

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804-1880), which recounts the episode of the divorce of Emperor Napoleon Bonaparte from his wife Josephine, which took place on 15 December 1809 in the Tuileries palace in Paris, and signed in the presence of Bonaparte family. Engraved by Jean Pierre Marie Jazet, it is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Matinèe du dix-huit brumaire (salon de Mme. Bonaparte)

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804–1880), which recounts a moment in the 18th Brumaire, the day of the coup d'état carried out by Napoleon Bonaparte which led to the fall of the Directory and sanctioned the end of the French Revolution. Engraved by Jean Pierre Marie Jazet, the engraving is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Oil on canvas. At the bottom right there is the badly legible signature (W. King?) With the date (1870?). The painting proposes the portrait of a young and beautiful girl who sits on a rock, in a wooded landscape, covered only with her long hair and a transparent veil embellished with roses. It is these details that make us think of an allegory of Spring, the flowering season but also symbolically the season of sensual, carefree and graceful youth. The already restored painting is presented in a late 19th-early 20th century frame.

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Oil on canvas. At the top right appears the signature "Francesco Santacaterina da Monteleone pinxit in 1856". Of this painter, originally from Monteleone di Calabria, now Vibo Valentia, we know three altarpieces made in the same period of our painting in various churches of Strongoli, another Calabrian town in the province of Crotone. The blades are all of a sacred subject. Instead we have here a portrait of a middle-class family, father, mother and little son wearing traditional clothes; the child holds a dove in his arms, tied to a cord. The work has been restored, on the back there are signs of patches. It is presented in a stylish frame.