Eclectic Mirror Wood Italy XIX Century - Late 19th century

Oil painting on canvas. The Virgin Mary is gathered in a meditative attitude, with her hands folded to her chest, her eyes painful, devoid of any otherworldly aura, but rather emphasized in her very human maternal pain. Already relined, the painting shows small diffuse drops of color. It is proposed in a stylish frame.

Oil on canvas. The portraited gentlemen can be identified by the letter that he is hold taht is addressed to " Sig. Fran. Giulini, municipal councilor." As we desume from the almanac of the Province of Como of 1846, Francesco Giulini was councilor of the " Municipal Congregation of the Real City of Como", in charge of the streets department. The painting had been restored and displayed in a revival frame.

View of the Ligurian Riviera

Oil on canvas. At the bottom right there is a trace of the signature; on the back a cartouche with the painter's signature and another with the title of the work "A construction site, Riviera di Levante, near Recco". The foreshortening of the Riviera describes the construction site of a large boat, it would seem a vessel, on the beach near the town; several popular figures animate the scene: women washing clothes, the cart carrying some materials, the carpenters, fishermen near their boats on the right; the whole beach around the boat is occupied by the wood used, while the classic Ligurian promontory stands out in the background, occupied by the green hill. Giovanni Battista Ceruti was born and died in Milan, where he exhibited on several occasions; of its production only a few works are known, all of which are marine views. The painting has a slight tear in the upper left. It is presented in a gilded frame from the late 19th century.

Oil on canvas. Portraits of a bourgeois man and a woman. On the female portrait there is an unidentified signature. They come with black lacquered coeval frames.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

Oil painting on canvas. Nineteenth century. Dignified and severe lady, in a lightened black dress with a white collar. In a late 19th century frame.

Oil on cardboard, applied on wood. Signed lower right Previati. The young woman portrayed is shown from behind, with her head turned sideways, staring into the distance; she wears an older style dress, which leaves the shoulders uncovered, and on her head a crown of roses intertwined with ribbons, which stand out chromatically recalling the white and pink colors of the young woman's complexion. The painting is presented in a frame from the early 1900s, adapted.

Oil on canvas. Signed Anibal and dated 1849 in the lower left corner. The scene offers the glimpse of a river landscape, with the wide and peaceful watercourse flowing in the middle of a green countryside and near a small village, and animated by numerous figures of fishermen and laundresses intent on daily occupations. The painting has a slight tear on the left and a sign of previous repair on the right. It is presented in a coeval redorated frame.

Watercolor on paper. Signed Borrani and dated 1881 in the lower left corner. Meticulous and detailed glimpse of a Gothic church interior, in particular the pulpit decorated with panels carved in bas-relief with scenes from the Passion; in the background, the bright and colorful mosaic windows. Despite the signature, it is not attributable to the Tuscan painter Odoardo Borrani, a talented Macchiaiolo. The painting is presented in a styled frame.

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.