The Sower Bronze Sculpture France XX Siècle

Oil painting on canvas. Roman school of the seventeenth century. The two landscapes refer to Roman painting of the seventeenth for the setting and the pictorial style: the large and dilated spaces frame in the foreground glimpses of the bucolic countryside, with streams of flowing water, animated and populated by figurines, and with architectural structures behind, in one of the two paintings in particular characterized by a baroque dome soaring over the houses; finally in the background and contour, the nature that from spacious valleys gets lost in hilly slopes in one of the two, but above all in mountain peaks shaded in the blue to merge with the sky above. The chromatic contrasts between the earthy hues used for the vegetation and for the rocky parts and the colder colors of the large patch of sky that opens the landscape towards the deep horizon stand out. Restored and relined, the two paintings are presented in period frames.

Pastels on cardboard. Central European school of the late 1800s. Trace of signature lower left. The beautiful and elegant young woman is depicted with a melancholy expression, a slight heavy smile, her eyes downcast and pensive: the attitude, associated with the black she wears, suggests a woman in mourning. The painting is presented in a mid-1900s frame.

Oil painting on canvas. At the bottom left there is an unidentified signature (Parravicini?). The hilly landscape, with sparse and low vegetation, is inhabited by a solitary brick farmhouse, squared and equally bare; above, to accentuate the atmosphere of solitude, a sky full of gray storm clouds. The painting is presented in a period frame.

Oil painting on canvas. Italian school of the seventeenth century. The scene depicts Jesus, who has just risen, appearing to the Magdalene, who has come to anoint his body at the tomb. Jesus holds the spade in one hand, because he is initially mistaken for a gardener by the woman; between the two figures, on the ground, the rich alabaster jar containing the ointments for the burial. This scene is also entitled "Noli me tangere" from the phrase which, according to the translation of the Vulgate of the Gospel of John, Jesus said to the Magdalene, when he made himself known: the meaning would not be so much "Don't touch me", but rather "Don't touch me" hold back". In the construction of the scene and in the colors of the characters, the painting recalls the homonymous work by Pietro da Cortona (1596 -1669), albeit with several differences. The subject was also widely reproduced in painting and inspired many painters. The painting has been restored and relined.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

Oil on canvas. Singed S. Ronzoni at the bottom right. The artist painted a view over the harbour with small boats moored at the quay and sailors loading goods on their shoulders. The pictorial strokes are broad and uncontoured, the colours in a few ranges fading into each other to create a suspended atmosphere. The painting is presented in a stylish frame, with some faults.

Oil on canvas. Lombard School. Portrait of a middle-aged austere and composed lady, The painting is in good conditions and comes in a coeval frame. that shows small drops of the gilding.

Oil on canvas. Lombard School. Portrait of a woman that highlights the lace of the dress and the crucifix around the neck. It is in good conditions and comes in a gilded coeval frame that shows small drops of color.

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. Good use of the hatching and chiaroscuro are shown in this portrait of a young woman. The portrait comes with a 19th century wooden frame that had beeen embellished with leafy and floral leather inserts; the frame has some color drops and some missing parts.

Oil on canvas. Signed S. Ronzoni in the bottom right-hand corner. The foreshortening is set outside the village, near the small stream crossed by a small bridge; on the embankment on the right there is a covered market, populated by numerous figures, among which stands out in the foreground the female figure who, well closed in her coat with a red scarf, returns with a full purse. With broad brushstrokes and blurred outlines, the artist creates a pleasant scene divided into two parts, with the natural landscape on the left, dominated by the colours blue and green, and the environment of popular life, where the bright colours of the clothes stand out in patches against the grey and off-white tones. The painting is presented in a frame.