Neo-Renaissance Mirror Walnut Italy XIX Century - Italy Late 19th century

Oil painting on canvas. A large landscape of hilly countryside, with the river flowing to the left, sees some small popular figures on the path to the right, travelers in conversation. The painting has undergone color cleaning. It is presented in a contemporary frame.

Original silk curtain applied on a wooden frame. The large painting served as a decorative pictorial element; inside a gilded frame painted with swirls and curls, on a green background, a composition of flowers and leaves is painted, starting from the vase at the bottom center in continuity with the decorations of the frame. The canvas has a small tear at the bottom left.

Male Portrait in Profile

Oil on cardboard. signed lower right, with a dedication "to friend G. Rutelli". Of humble origins, Angelo Dall'Oca Bianca, even once he became an established and appreciated artist, frequenting the Italian and international artistic-cultural environment, always maintained the bond with his city, a continuous source of inspiration for his artistic production, and for its poor; in 1939 he built the Dall'Oca Village in Verona, for the benefit of the poor of the city, and in 1941 he made a will, leaving all his money and his paintings to the city of Verona for charitable works. His painting was always of a purely realist mold, influenced above all by his contact with Giacomo Favretto who allowed him to enrich his painting technique with bright colors and a large and vaporous style, and by the use of photography as a memory for the representation of truth. . The work, a portrait of a male figure seen in profile, is lively in the colors. It is presented in a stylish frame.

Landscape with Houses 1875

Oil on the table. Signed and dated lower right. Further signature and date on the back. Artist from the province of Pisa, trained first at the Academy of his city and later at that of Florence, thanks to contacts with Telemaco Signorini and Giovanni Fattori, Francesco Gioli landed on painting from life with a rural subject, creating works - such as the one presented here - which constitute the expression of Tuscan Naturalism, in which he managed to convey the nostalgia of the past and the discomfort with the advance of progress. At the beginning of the twentieth century he oriented his production on Florentine views, giving particular emphasis to the atmospheric and luministic rendering in an impressionist sense. The work is presented in a contemporary frame.

Landscape with Peasant Woman

Oil on the table. signed lower right. Adolfo Tommasi, a painter from Livorno, in the wake of the "Macchialioli" established himself as a painter of nature: the humble aspects of nature, the countryside and the people who populate it were his main subjects, investigated with sensitivity for the atmospheric and luminous effects, rendered with a quick brushstroke, which builds shapes through juxtaposed colors without a contour line, albeit with attention to detail. The work is presented in a style frame.

Landscape with Mountains

Oil on wooden table. Signed lower right. On the back, the scroll of the "Salvetti Art Workshop" in Milan. Stefano Bersani, Lombard artist and poet, devoted himself to the painting of life, even the most humble and common; in fact, among his works, in addition to various Lombard landscapes, such as this one proposed which has the Alpine chain as a background, also scenes of the fields with figures of peasants, farm animals, folk figures. He participated in many competitions, exhibited in numerous Lombard galleries and was in great demand in noble houses, where he was also an interior painter. The work is presented in a contemporary frame.

Couple in the Woods

Oil on the table. Signature lower right. Panerai was an Italian painter, teacher and illustrator, originally from Florence, where he studied at the Academy of Fine Arts having as master Giovanni Fattori who introduced him to the naturalistic landscape painting of the Tuscan Maremma. He was also attracted by the military theme, with scenes of military and seafaring life, and distinguished himself as an animalist painter, gifted with acute sensitivity. His style refers to a sketchy impressionism, easy, fresh, lively. The work is presented in a style frame.

Interior with fireplace

Oil on canvas applied to cardboard. Signed lower left. Accompanied by authentication on photo from the Orler Collection. Inside a popular house, equipped with kitchen tools, a young woman is sitting in front of the lit fireplace, intent on cleaning vegetables; from the upper left window the light of a bright and clear day enters, which radiates into the gray and poor kitchen. The work is well part of the production of Domenico Induno, the Milanese painter who was a pupil of Francesco Hayez, who after his beginnings mainly devoted to historical-Renaissance painting, from the 1950s turned his production towards genre scenes, set indoors. domestic and with poor and derelict protagonists. Intimate scenes, often with few characters, turned into a melancholy and modest emotional tone, sometimes even desolate, which however were pictorially animated by that quick and flickering brushstroke, by that mobile and brilliant touch, which would increasingly characterize the style of the Induno . He achieved great success with his production, which earned him numerous awards and a following among the younger painters. He was also an established portrait painter. The work is presented in a style frame.

Oil on canvas. The gentleman, elegant in his black suit with waistcoat, bow tie and watch chain, holds in his hand an envelope on which the name of the recipient, Mr. Carlo Galli, is legible, a device that allows the portrait to be identified. The work has small drops of color in the lower part. It is presented in a coeval redorated frame.

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. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.

Oil on canvas. The painting is part of the nineteenth-century production of Grand Tour, which had an obligatory stop in Tivoli for its architectural riches. Tivoli is identified by the temple of Vesta which rises on the cliff to the left, under the rugged and rugged peaks of the Tiburtini Mountains on which the town stands. Under the cliff, just after a lively waterfall, the river flows, on which intense human activity is raging: in particular the activity of the boatmen who ferry travelers towards the mill on the other bank is depicted. The painting is presented in a styled frame.