Pair of Applique Shear Plate Italy XIX Century - Mid 19th century

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.

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.

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.

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.

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.

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.