Female Portrait XIX Century

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.

In Val di Susa

Oil on the table. Signed lower left. On the back there is a partially torn cartouche with the name of the author, the title and residue of the label shows on the Italian landscape. Born in Domodossola and approaching painting and sculpture as a self-taught, Follini subsequently studied at the Accademia Albertina in Turin, as a pupil of Antonio foranesi. Skilled landscape architect, he chose and dedicated himself exclusively to this subject, portraying, with great poetry, many views of the Alps but also seascapes and landscapes of the places he met in his frequent travels to Italy and Europe. Praised by critics and supported by collectors, he participated in major exhibitions with a dense production, characterized by an elegant stroke and a loose and expressive brushstroke. In this painting an Alpine glimpse with a pastoral figure is proposed. It is presented in a contemporary frame.

Oil painting on canvas. Neapolitan school of the nineteenth century. Typical example of Grand Tour painting, the painting offers a glimpse of the Gulf of Naples animated by numerous boats, of which in the foreground one of fishermen landing on the beach, where their wives and children await. In the background stands the smoking Vesuvius. The scene is lively for the vitality it expresses and for the colors, although the pink shades of the sky and Vesuvius recall the romantic note of the painting of the time. The canvas has small color drops. It is presented in a stylish frame.

The Friar and the Painter 1887

Oil on canvas. Signed and dated lower right. Genre scene set in a museum environment, where a young painter is trying her hand at reproducing a work, under the stern gaze of a friar. It is the work of Giulio Sommati di Mombello, a Turin artist from a noble family, who was artistically trained at the Albertina Academy in Turin, the city where he lived and worked, while exhibiting in all Italian cities. He painted genre scenes, portraits, urban views (particularly his markets in Turin), landscapes, and from the first decade of the 1900s, also numerous marinas, following his discovery and falling in love with the Ligurian Riviera. He had among his admirers the King (from whom he obtained the appointment as Knight of the Kingdom) Queen Margherita, Elisabetta di Sassonia Duchess of Genoa, the Promoter of Turin, Princes, municipal and national art galleries and art lovers scattered in many regions of 'Italy. He is considered "certainly a great poet and his poetry was expressed in the colors of nature (mother and teacher) that he portrayed on the canvas." The work is presented in a style frame.

Oil on canvas. French school of the late 19th century. At the bottom right there is the signature P. Detanger, unknown author. Intense portrait of a gentleman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. Distinguished gentleman in a waistcoat with a watch chain and goggles, he is portrayed with a concentrated gaze, absorbed in his thoughts. The painting is presented in a styled frame.

Portrait of R. Linard 1887

Oil on canvas. At the top right there is the signature, the date and the dedication with the name of the friend portrayed ("a mon ami R. Linard"). Little is known about the author, known in Paris and cited as a pupil of Carolus Duran, one of the most popular painters in the city, a portraitist who distinguished himself for his realistic vigor, breadth of composition and richness of color. Also in this work, of excellent composition, an intense expressive force is found: the man's face emerges from the dark background (in which even the shoulders dressed in black are confused), with a penetrating gaze that looks straight ahead, flaunting security. Restored and relined, the painting is presented framed with a stretch of rope.

Oil on canvas. The girl is sitting on a step in a garden; she holds a pansy in her hands and at her feet are some cut roses, from the potted plant behind her; in the background on the right, you can see the sea in the distance. The shades of rotten green dominate, fading from the sky, to the girl's dress, to the plant, maintaining a chromatic uniformity interrupted only by the rosy face and hands and scattered flowers. The painting. restored and relined, it is presented in a frame built on an ancient wooden base.

Oil on cardboard. North-ItalIan school. The two small landscapes offer views of the countryside with the remains of ancient stone walls and wayfarers on the path that pass under the monumental arches. The atmosphere is romantic, imbued with pink colors. Although more landscape than monumental, the two squares are fully part of the production linked to the Grand Tour, the journey through Europe - and with the main stops in Italy! - that the young people of the European high aristocracy completed, upon completion of their university studies, to enrich their cultural background. This fashion favored a large production of small paintings of the places visited, in memory of the stage. The two paintings are presented in 19th century frames.

Glimpse Of Naples Bay

Oil on board. Signed at the bottom right. On the back there is a stamp of the art studio-workshop in Naples. The view of the Bay of Naples shows a landing place for small fishing boats, along a beach populated by numerous figures. Vesuvius rises in the background, its outline fading into a cloudy grey sky, which takes the sunlight away from the day, illuminated rather by the bustling bustle of people on the promenade. Very little is known about the Neapolitan artist Eduardo Scognamiglio: his work includes numerous views and vistas, mainly of Naples, but also popular genre scenes and portraits of popular figures. His production had a large following abroad, where he was known, appreciated and widely requested, earning him the English name of Edwardo. The painting comes in a revival frame.

Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.