Mirror Wood Italy XIX-XX Century - Italy Late 19th - Early 20th Century

Pastels on cardboard. Central European school of the late 1800s. Trace of signature lower left. The beautiful and elegant young woman is depicted with a melancholy expression, a slight heavy smile, her eyes downcast and pensive: the attitude, associated with the black she wears, suggests a woman in mourning. The painting is presented in a mid-1900s frame.

Oil painting on canvas. At the bottom left there is an unidentified signature (Parravicini?). The hilly landscape, with sparse and low vegetation, is inhabited by a solitary brick farmhouse, squared and equally bare; above, to accentuate the atmosphere of solitude, a sky full of gray storm clouds. The painting is presented in a period frame.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

Oil on canvas. Singed S. Ronzoni at the bottom right. The artist painted a view over the harbour with small boats moored at the quay and sailors loading goods on their shoulders. The pictorial strokes are broad and uncontoured, the colours in a few ranges fading into each other to create a suspended atmosphere. The painting is presented in a stylish frame, with some faults.

Oil on canvas. Lombard School. Portrait of a middle-aged austere and composed lady, The painting is in good conditions and comes in a coeval frame. that shows small drops of the gilding.

Oil on canvas. Lombard School. Portrait of a woman that highlights the lace of the dress and the crucifix around the neck. It is in good conditions and comes in a gilded coeval frame that shows small drops of color.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Pencil on paper. Good use of the hatching and chiaroscuro are shown in this portrait of a young woman. The portrait comes with a 19th century wooden frame that had beeen embellished with leafy and floral leather inserts; the frame has some color drops and some missing parts.

Oil on canvas. Signed S. Ronzoni in the bottom right-hand corner. The foreshortening is set outside the village, near the small stream crossed by a small bridge; on the embankment on the right there is a covered market, populated by numerous figures, among which stands out in the foreground the female figure who, well closed in her coat with a red scarf, returns with a full purse. With broad brushstrokes and blurred outlines, the artist creates a pleasant scene divided into two parts, with the natural landscape on the left, dominated by the colours blue and green, and the environment of popular life, where the bright colours of the clothes stand out in patches against the grey and off-white tones. The painting is presented in a frame.

Brescia hills

Oil on canvas cardboard. Signed lower right. Beautiful landscape of the Brescian hills, with the very green central hill that opens onto the cultivated plain, gradually fading from the greens to the distant blues up to that of the sky. Bonatti, originally from Mantua but trained and lived in Milan, was a figure and portrait painter, but he also produced various Lombard and Ligurian landscapes. The work is presented in a coeval frame.

Oil on canvas. The painting celebrates the memory of a deceased person: it represents a tombstone with the name of the dead and the dates, laying on the bare ground in a desert landscape, faded with a sunset in the background, but surrounded by a garland of lively flowers. A white lily stands out from all, stretched out upwards, but with a broken stem, forcing the corolla to turn towards the ground: it is the "memento mori", the symbol of the transience of life. The beautiful painting is presented in a gilded coeval frame.

OIl on canvas. North Italy School. Small glimpse of a steam that flows between the houses; we can see two figures, one is a soldier that is passing under the bridge on his boat; the other man is crossing the bridge while pulling a dunkey that is pulling a cart. The painting needs to be restored because of several drops of color of which the biggest one is on the left side of the bridge. It comes in a gilded coeval frame.