S. Bersani Oil on Wooden Table Italy XIX-XX Century - Landscape with Mountains

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Old Naples's View 1933

Oil painting on canvas. Signed and dated lower left. Ricciardi was a prolific Neapolitan painter considered by some to be the seed of Neapolitan impressionism; he painted seascapes, beaches, views, landscapes and Neapolitan customs and traditions of his city as his main subjects. In his works the intense chromaticism, the study from life, the abandonment of the drawing and the limpid and terse light that pervades the scenes, reveal the knowledge of Impressionism, due to the presence in Naples of Giuseppe De Nittis. This glimpse of Naples has been repeatedly replicated by the artist, and in one of these works also appears the title "Impression of old Naples", absent here. It is an intense glimpse of the atmosphere of an old popular Neapolitan street, enlivened by a market populated by human figures, with old peeling walls decorated with hanging clothes and planters. The work is rather dark, a brown monochromatism prevails, interrupted only by the brighter colors of the human figures; the only source of light comes from the artificial lights turned on in the shop down the street. The work has a slight damage in the upper right corner (small cut of the canvas). It is presented in a coeval frame.

Drawings on rice paper. They represent four scenes of popular life without backgroun but just human figures with few elements that define the scene. One of the drawers has small missings. The drawings come in a Empire frame.

Gouaches on paper. The two small paintings offer Neapolitan views, identified by the inscriptions below: on the left, the eruption of Vesuvius in 1794, on the right, the entrance to the Grotte di Pozzuoli. Typical Grand Tour works, practically delicate and detailed postcards. They are presented in a single frame.

Departure for the war

China ink and watercolor on paper. Signed in the lower left corner. The scene depicts a Greek soldier, already dressed up for the war is saying goodbye to the desperate wife and son. Raffaele Postiglione used to paint historical and religious subjects. The painting is presented in coeval frame. 19th century.

Oil on canvas. Center-Italian School. The glimpse shows a river that flows fastlly crossing an hilly landscape; along the shore, at the left side, there are two women that are washing clothes and a wayfarer; on the right side of the river, in the background, ther is a small hamlet. The painting shows small drops of color. It comes in a 20th century frame that had been gilded again.

Oil on canvas. Eastern European School. Signed Szego G. below. These are two works to be proposed aligned because they depict a boy and a girl lying on the same lawn in a mirrored position, as if facing each other, probably intent on a love game: they wear gypsy clothes and have musical instruments with them - she a tambourine and him a violin - which refer to two characters of Slavic ethnicity, from the gypsy world. The whole is lively and serene. The two works are presented in styled frames.

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. Italian school. With a romantic atmosphere, the landscape with the hill full of trees, the stream crossed by a bridge and the young villager carrying the amphora of water on her head, is surmounted by a sky mottled of different colors, with darker clouds that fade away into the pink of the dawning sky. On the first canvas, the painting shows small drops in colour. It is presented in a stylish frame.

Glimpse of Paestum

Gouache on cardboard. Signed lower right. The Neapolitan painter Antonio Coppola attended courses at the Institute of Fine Arts in Naples. He was a good temperer and executed with ease and with marine effect and views of Naples, with a production sought above all by foreigners and tourists. The foreshortening shows the countryside around the temple of Paestum, with a hay cart and its farmer in the foreground. It is presented in a gilded frame from the end of the 19th century.

Swiss Landscape 1857

Colored lithograph. Signed and dated at the bottom left. Jean-Pierre Thènot was a french painter, draftman, engravor and author of painting treatises. The lithograph shows a landscape view with high waterfalls on the right, probably the Staubbach Falls in the canton of Berne, and is animated by figures of shepherds with their flocks and couples on gallant walks; in the centre of the landscape is a chalet. The lithograph is part of a series of landscapes of Switzerland. The art piece comes in a coeval gilded frame.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.