Countertop Clock Gilded Bronze France XIX Cent.

Oil painting on canvas. Of ancient taste, the landscape, verdant and with the village at the center, is animated in the center by figures of shepherds and a wayfarer on horseback who water the animals in the stream, conversing with another wayfarer passing over the bridge. Restored, it is presented in a coeval adapted frame.

Portrait of Giovanni Strazza

Oil painting on canvas. Signed lower left. At the top right, the name of the man portrayed, Giovanni Strazza (1818-1875), the well-known Milanese sculptor linked to the style of academic neoclassicism. Antonio Zona, of Venetian origin but who lived for a long time in Milan, made a name for himself above all as a portraitist, painting numerous famous characters of his time. Restored and relined, the painting is presented in a period 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.

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.

Oil on canvas with relief application of highly material colour, to define the crowns and initials at the top. The painting takes up the style of the ancient icons, both in the subject and in the gold painting to define some details, as well as in the use of Cyrillic for the initials at the top. Moreover, the inscription Rome appears in Latin characters on Mary's crown, probably to indicate the place of purchase. Already relined, the painting shows in the painted part some traces of previous restoration, rather coarse, and some small drops of color.

Pencil on paper. Signed L. Fasanotti lower right. The small portrait is presented in a beautiful coeval gilded frame.

Oil painting on canvas. This portrait of a woman dressed in a very abundant dress that hides her shapes and with her face covered by a black mask is curious: the visible portion of the face suggests a young and smiling face, the furtive attitude of one who tries to hide behind the heavy marquee, suggests a joke in progress, in theme with a party, a pleasure-loving moment. The painting is presented in a coeval frame.

Little Girl

Oil on the table. On the back there are traces of the signature and two labels from Art galleries, the Bottega d'arte of Livorno and the Galleria Manzoni of Milan, bearing the name of the author, the title and the technical data of the work. Livornese by birth, Ludovico Tommasi was trained near the Macchiaioli current, developing a strong sensitivity for color, which led him to create realist works pervaded by harmonious chromatisms. The work is presented in a stylish frame.

Figure in Landscape

Oil on wooden board. Barely visible signature lower left. Gottardo Valentini, from Milan, dedicated himself almost exclusively to landscape painting, painting landscapes, often from Lombardy (snowy woods, autumn countryside) characterized by a late-romantic sensibility. Also in this landscape, a vast open countryside with the horizon reaching far to merge with the sky, the indistinct figure folded in on itself, alone near the pond, evokes a feeling of solitude, of pain, which the gray atmosphere , almost gloomy of the surrounding landscape, accompanies and underlines. The work is presented in a late 19th century frame.

Oil painting on canvas. Northern European school of the 19th century. Family portrait of three girls, whose marked resemblance in facial features, smile and witty and mischievous gaze, is underlined by the almost identical clothes they wear, whose bright colors enliven the scene and on which the laces of the necklines stand out, exquisitely painted; the youngest in the center, still a child, has a slightly less worked dress and a less elaborate hairstyle, in keeping with her age. The painting is presented in a late 19th century frame that has been adapted and regilded.

Park

Watercolor on paper. Signed lower right. On the back there is a label from the Manzoni Art Gallery in Milan, with the data of the work. A leading exponent of 19th-century Lombard painting which was always linked to the love for the real, Pompeo Mariani was also called "the Italian impressionist", due to the influence in his works of French impressionism and those experiences, not only cultural, which constituted the era of the Belle Époque, which the artist lived between Milan, Bordighera, Nice and Montecarlo. In this small watercolor Mariani offers a glimpse of a city park, adorned with statues along the gate. The painting is presented in a period frame.

Watercolor on paper. Inside a simple room, in front of the fireplace, a female figure lies on a chair with her eyes closed (asleep or in interior recollection?), whose clothes in the red and blue colors typical of the sacred Marian symbology, stand out in the almost monochromatism of the furnishings; from the window on the left enters a beam of light that crosses the room and radiates on the figure, illuminating it. Maybe an Annunciation? The work is presented in a period frame.