F. Goli Oil on Wooden Table Italy 1875 - Landscape with Houses 1875

Oil on cardboard, applied on wood. Signed lower right Previati. The young woman portrayed is shown from behind, with her head turned sideways, staring into the distance; she wears an older style dress, which leaves the shoulders uncovered, and on her head a crown of roses intertwined with ribbons, which stand out chromatically recalling the white and pink colors of the young woman's complexion. The painting is presented in a frame from the early 1900s, adapted.

Watercolor on paper. Signed Borrani and dated 1881 in the lower left corner. Meticulous and detailed glimpse of a Gothic church interior, in particular the pulpit decorated with panels carved in bas-relief with scenes from the Passion; in the background, the bright and colorful mosaic windows. Despite the signature, it is not attributable to the Tuscan painter Odoardo Borrani, a talented Macchiaiolo. The painting is presented in a styled frame.

The Friar and the Painter 1887

Oil on canvas. Signed and dated lower right. Genre scene set in a museum environment, where a young painter is trying her hand at reproducing a work, under the stern gaze of a friar. It is the work of Giulio Sommati di Mombello, a Turin artist from a noble family, who was artistically trained at the Albertina Academy in Turin, the city where he lived and worked, while exhibiting in all Italian cities. He painted genre scenes, portraits, urban views (particularly his markets in Turin), landscapes, and from the first decade of the 1900s, also numerous marinas, following his discovery and falling in love with the Ligurian Riviera. He had among his admirers the King (from whom he obtained the appointment as Knight of the Kingdom) Queen Margherita, Elisabetta di Sassonia Duchess of Genoa, the Promoter of Turin, Princes, municipal and national art galleries and art lovers scattered in many regions of 'Italy. He is considered "certainly a great poet and his poetry was expressed in the colors of nature (mother and teacher) that he portrayed on the canvas." The work is presented in a style frame.

Oil on canvas. Distinguished gentleman in a waistcoat with a watch chain and goggles, he is portrayed with a concentrated gaze, absorbed in his thoughts. The painting is presented in a styled frame.

Oil on canvas. Portrait of an austere gentleman, in a meditative pose, a man of letters or a scholar depicted in his study, with books scattered on the desk behind him. Restored and relined, the painting is presented in a period frame.

Female portrait 1869

Oil painting on canvas. Signed and dated on the right. Little is known about this French artist, who was basically a portrait painter, as his known production all fall into this category of subject. The painting denotes expressive intensity and good pictorial ability. Restored and relined, it is presented in a period frame.

Oil on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.

Vase, Roman excavations, 1860

Oil painting on canvas. Signed and dated lower left. Further signature, date and title on the back. On the frame there is a stamp from an important private collection. The work proposes a composition of an amphora and a painted ceramic plate, surrounded on the right by roses. Milanese painter and decorator, Luigi Scrosati initially attended the Brera Academy, which he soon abandoned to devote himself to numerous trips abroad, in particular to Paris. Already from the beginning of his activity, in the 1940s, he worked as a painter of still lifes strongly influenced by French examples, in particular from the Lyon school. Alongside the easel and watercolor production, dominated by the specialization of still life of flowers, Scrosati was very active as an interior decorator, often engaged in team work alongside architects and project managers, but always with considerable autonomy and a characteristic style , substantially eclectic and aimed at a reinterpretation of the styles of the past. The debut in this area, towards the end of 1842, consists of a cycle of frescoes in the residence of San Fiorano (LO) owned by Giorgio Guido Pallavicino Trivulzio, for which Scrosati decorated a Gothic room, a Rococo living room and a small entrance compartment. His frescoes can be found in numerous villas in and around Milan, works in which Scrosati refers to the styles of the past, re-proposing eighteenth-century suggestions, but also of the Baroque. The decorations in the Dante's Cabinet first and then in other rooms in the Palazzo Poldi Pezzoli in Milan (now home to the Museum of the same name) were instead of neo-medieval taste, made with the Bertini team of which Scorsati was part. The disease that struck Scrosati in the lower limbs in 1857, making him ill, probably prevented him from continuing his activity as a decorator, forcing him to fall back on floral easel painting, which led him to produce still lifes of flowers, but also portraits or fake bas-reliefs with garlands of flowers or even interiors and genre scenes, in which he was influenced by the German and Viennese production of the Biedermeier type and the French one of the Lyon school. In 1862 Scrosati was commissioned to direct a new Ornato course at the Brera Academy, with particular reference to flower painting and relations with industry, a course set up by the Braidense institution to expand the already flourishing school of ornamental painting. The work is presented in a style frame.

Oil on canvas. The girl is sitting on a step in a garden; she holds a pansy in her hands and at her feet are some cut roses, from the potted plant behind her; in the background on the right, you can see the sea in the distance. The shades of rotten green dominate, fading from the sky, to the girl's dress, to the plant, maintaining a chromatic uniformity interrupted only by the rosy face and hands and scattered flowers. The painting. restored and relined, it is presented in a frame built on an ancient wooden base.

The group of three compositions, natural

Tempera on paper applied to canvas. The compositions depict different birds and butterflies flying above flowers. Good condition, small spots of moisture. Presented in coeval frames. 18th century.

Oil on canvas. Of this suggestive and fascinating scene of a stormy sea, with ships at the mercy of the waves, there are different versions, inspired by the most important and well-known canvas, the one created by Francesco Guardi (1712-1793), of the same size and preserved at the Castello Sforzesco from Milan. This proposal is very close to a similar work from the Gnecchi collection in Milan, certainly inspired by the Guardesca production: it differs in small details (the color of the flag on the ship on the right, the inclinations of the masts of the ships on the left and in the center, the shape of the clouds), which suggest a good copy, made in the nineteenth century, in the wake of the interest and suggestion for the naturalistic theme and, in particular, for the power of Nature, which developed above all in Italy during the period of Romanticism. On the back of the frame there is a paper label with an inventory number and the initials C.G. (Gnecchi Collection?). On the first canvas, the painting has a very small tear on the right. It is presented in a late 19th century frame.

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.