A. Andreani Woodcut on Paper Italy 1585 - Lamentation over the dead Christ 1585

Oil on canvas. The painting, made in the first half of the 1900s, takes up the landscape works in the subject and in the pictorial mode: in a landscape rich in vegetation and with peaks in the background, a young commoner asks for charity from some travelers who rest on the roadside , near a stone arch. The canvas has undergone aging and is presented in a late 19th century frame.

View of the Badia Fiorentina

Watercolored etching. Bottom left the words "Ios. Zocchi del.", Right "Vincen. Franceschini Firenze". This is a view taken from "Choice of XXIV Views of the main districts, squares, churches, and palaces of the City of Florence", collected in 24 sheets engraved on drawings by Giuseppe Zocchi on behalf of the Marquis Andrea Gerini and published in Florence in three editions between 1744 and 1757. The one performed by Vincenzo Franceschini corresponds to the second edition, published in 1754. All of Zocchi's production, which had a great international success, represents a precious document of images of architecture, gardens and countryside. Italy of the century of the Enlightenment, thanks to the accuracy and precision of the reproductions. The print is presented in a frame.

Capriccio with Figures 1780

Etching. Below right the name of the engraver and the date of creation. As stated in the lower left, the "Capriccio with portico and pulcinelli" preserved at the Accademia Carrara in Bergamo is inspired by Francesco Guardi: the engraver, faithful to the painting in the architectural layout, has instead completely modified the figures , replacing the pulcinella with people from the street. Well preserved, the print is presented in a frame.

Fabric embroidery. The fragment belonges to a bigger scene of John Baptist's birth with his father Zaccaria sitting in the corner while writing his name and her mother Elizabeth supervises from the bad the care given to his son by the servants. The fabric has holes and signe of wear. Revival Frame.

Watercolor on paper. Signed lower right "Marquis de Salis". The sympathetic scene depicted is set inside a school of nuns, as indicated by the abcedary on the ground below; the characters are filmed in the moment of prayer: they are all kneeling, the superior in front of the altar with the Crucifix leads the prayer, while all the children follow her, more or less composed and attentive, supervised by another nun. The work is presented in a style frame.

Charcoal on paper. Unidentified signature with date to the right of the face. The name of the young woman portrayed, Teresina Rota di Valsecca, is mentioned on the back, with a further date. The work is presented in a coeval conception.

19th Century Etching

Etching. It is a print of the famous painting of Murillo titled The Saint Family or The Virgin Of Seville that today is preserved at Louver Museum in Paris. The etching had been made by Carlo Cattaneo in Turin. It shows several signs of humidity. It comes in a 20th century frame.

19th century wooden frames with engravings on paper of famous people, specifically of 6 academics and philosophers (Voltair, Rousseau, Linnè, Fénelon and Mably). The carvings had been made by Pierre-Michel Alix (1762-1807), fench cerver that in 1782 made the "Collection of portraits of importante man", They show signgs of wear as humidity damnages and drops.

Pencil on paper. Portrait of woman with a good with beautiful rendering of chiaroscuro in pencil. It comes in a coeval gilded frame.

Studies of Nature

Group of 12 etchings on a hardboard notebook. From the catalogue raisonné of Kobell's works, published in 1822 by Baron de Stengel, it is also possible to recover the titles of the individual engravings, which depict figures from popular life. The first one also has the title: "Etudes d'après nature, dessinées et gravées par Ferdinand Kobell,...". (Studies from life, drawn and printed by Ferdinand Kobell), with the Parisian locations mentioned below. The titles of the other figures, in the order of their presentation in our collection, are as follows: Return from the Market, The Beggars, The Messengers, The Stonemason (Sculpture Seller), The Brush Seller, The Vegetable Seller, The Hat Seller, The Junk Dealer (Print Seller), The Peasant at the Market (Sleeping), The Second-hand Clothes Dealer, The Blind Man.

Oil painting on canvas. Northern Italian school of the 18th century. A priest, kneeling in front of the altar, while celebrating or preparing to celebrate Holy Mass assisted by an altar boy on the left and a nun on the right, addresses his prayer to two saints, who appear above his head as a representation of his meditation and interior prayer. On the altar stands the fresco dedicated to Mary enthroned with the Child Jesus, angels and saints. The work has different color losses and is proposed in a gilded frame from the end of the 19th century, with shortcomings.

The meeting of the Centurion Cornelius with the Apostle Peter

Mixed technique on paper (charcoal, pen, brown ink, watercolor and white lead). Signed Pasqual Otin lower left; coming from a private collection, there are the brands of two previous collections, Dalla Bella and Frigerio. The work is also accompanied by a critical study by dr. Francesco Vincenti and a certificate of authenticity from the Orler Collection. It is a fascinating drawing by Pasquale Ottino known as Pasqualotto, a Veronese painter (the surname Otin corresponds to the Venetian wording) who, after a period of training in Rome, embarked on a painting career in Verona marked "by the Caravaggesque luminism declined in the Venetian style with the use of robust colourism ". Also in this drawing the Counter-Reformation tendency is already perceived, for the meaning of immediate teaching, linked to the dramatic expressiveness of the characters. The episode recounted, drawn from the Acts of the Apostles, sees a Roman centurion who begs for blessing from Peter, inside a room that draws light from the window and is filled with other characters from the newspaper, the attendant on the right and the servant who brings bread and wine to the tray on the left. Central is the intense gaze between the two protagonists, accompanied by the hint of a smile on their lips, to express the joy of the encounter of Salvation. Framed.