Countryside Landscape Oil on Canvas Italy XVIII-XIX Century

Oil on the table. late 19th - early 20th century. The panel resumes the production of sacred art of the fourteenth-century models, both in the composition of the figures and in the realization on a gold background, which continues in the coeval frame. In the composition, which is static, Mary is in the center holding the Child in her arms, while two saints look out from behind her, a Franciscan on the right, an old man on the left, both with the handle of the pilgrim's saddlebag.

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.

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.

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Oil on the table. English school of the late 19th century. Pleasant rural scene, with numerous figurines of wayfarers and shepherds with the beasts, scattered in the wide meadows and on the path that leads to the river; in the background a blue lake, with ruins. The painting has slight color drops. It is presented in a stylish frame.

France Late 19th century Early 20th century

Bronze statue depicting a female figure with a bunch of flowers. The statue rests on a circular base in gilded and chiseled bronze with plant motifs and supported by three feet with leafy volutes. The sculpture bears the signature of the incussa "Moreau" manufacture.

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century frame.

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century frame.

Watercolor on cardboard. On the back there is the date 1892 and an unidentified signature. The composition presents a series of objects placed on a small table surmounted by a mirror: two books, one of which is open, a painted ceramic vase and a hookah. It is presented in a gilded tray frame from the 19th century.

Oil on canvas. The scene, still with a romantic taste due to the pink atmospheres, sees a stream that flows with waterfalls and jumps between the rocks of an impervious landscape, dominated by rocky peaks; on the shore, a shepherd boy sitting on the boulder, contemplating the landscape. The painting has some color losses. It is presented in a coeval redorated frame.

Oil on canvas. The romantic scene for the rosy atmospheres offers a glimpse of mountains on whose slopes a lake opens up, with a village lying on the shore: the typology of the landscape recalls Lake Como. Small drops of color. The painting is presented in a coeval redorated frame.