Mirror Glass Italy XIX Century - Late 19th century

Divorce de l'impèratrice Josèphine

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804-1880), which recounts the episode of the divorce of Emperor Napoleon Bonaparte from his wife Josephine, which took place on 15 December 1809 in the Tuileries palace in Paris, and signed in the presence of Bonaparte family. Engraved by Jean Pierre Marie Jazet, it is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Matinèe du dix-huit brumaire (salon de Mme. Bonaparte)

Engraving. Below the title, the names of the characters and the name of the engraver. The subject is taken from the work of Henri Frédéric Schopin (1804–1880), which recounts a moment in the 18th Brumaire, the day of the coup d'état carried out by Napoleon Bonaparte which led to the fall of the Directory and sanctioned the end of the French Revolution. Engraved by Jean Pierre Marie Jazet, the engraving is part of a series dedicated to the life of Napoleon. The engraving is presented in a beautiful coeval gilded frame, which shows small lacks and damages.

Oil on canvas. At the bottom right there is the badly legible signature (W. King?) With the date (1870?). The painting proposes the portrait of a young and beautiful girl who sits on a rock, in a wooded landscape, covered only with her long hair and a transparent veil embellished with roses. It is these details that make us think of an allegory of Spring, the flowering season but also symbolically the season of sensual, carefree and graceful youth. The already restored painting is presented in a late 19th-early 20th century frame.

Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.

Oil on canvas. The canvas portrays a scene inscribed inside a painted tray-shaped frame, on the sides of which there are two winged griffins; the scene depicts a female figure in a countryside exterior, in the company of a small child who is nursing from her breast, a dog and a sheep: it could be an allegory of female work, an exaltation of the different roles that women play in her popular life. The painting, already restored and relined, is presented in a coeval lacquered frame decorated in plaster with a wreath of branches and ribbons, which ends at the top with a large bow.

Oil on canvas. At the top right appears the signature "Francesco Santacaterina da Monteleone pinxit in 1856". Of this painter, originally from Monteleone di Calabria, now Vibo Valentia, we know three altarpieces made in the same period of our painting in various churches of Strongoli, another Calabrian town in the province of Crotone. The blades are all of a sacred subject. Instead we have here a portrait of a middle-class family, father, mother and little son wearing traditional clothes; the child holds a dove in his arms, tied to a cord. The work has been restored, on the back there are signs of patches. It is presented in a stylish frame.

Oil on canvas. Double monogram AL - LB and the year 1847 bottom left. Saint Francis in contemplation of the Cross in the rocky desert, turns his head in ecstasy towords the light above. The painting has a frame from the late 1800s.

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.

Oil on canvas. Tacito in the Annales tells the deail of Seneca's death wanted by Nero who was Seneca's pupil and who accused ihm of taking part in a conspiracy against him. This theme had been often painted because of the intense pathos that it tranmits: Seneca chose to suicide himself rather than being killed by an executioner and in the painting is represented on his deathbed with the doctor that is witnessing his death while he is dictating his last wishes and his wife Paolina is crying. The painting has several color drops that need to be restored. Displayed in a coeval gilded frame from 20th century.

Oil on canvas. Signed lower left. Adolfo Dumini was a Florentine artist who privileged genre scenes of purely popular taste. In this scene, a woman in traditional dress plays the tambourine in the street, while next to her the son holds out his hat to ask for begging. The brightly colored dresses and the gestures of the woman enliven the scene, against the rather dark background of the rocky walls of the town. The painting is in good condition.

Costal View of Naples Bay

Oil on canvas. Signed Att. Pratella at the bottom right. On the back there is a declaretion of belonging to the neapolitan artist. The subject is close to Pratella's production who preferred marine landscapes of the Naples Bay, his home town. It is part of a wide group of painting of uncertain attribution that for a stylistic quality that does not conform to the hand of Pratella. Good qualiti and pleasant atmosphere. The painting comes with frame.