Male Portrait Oil on Canvas Italy XIX Century

Oil on canvas. The portraited gentlemen can be identified by the letter that he is hold taht is addressed to " Sig. Fran. Giulini, municipal councilor." As we desume from the almanac of the Province of Como of 1846, Francesco Giulini was councilor of the " Municipal Congregation of the Real City of Como", in charge of the streets department. The painting had been restored and displayed in a revival frame.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

Oil on canvas. Signed Anibal and dated 1849 in the lower left corner. The scene offers the glimpse of a river landscape, with the wide and peaceful watercourse flowing in the middle of a green countryside and near a small village, and animated by numerous figures of fishermen and laundresses intent on daily occupations. The painting has a slight tear on the left and a sign of previous repair on the right. 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 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.

Oil painting on canvas. Neapolitan school of the nineteenth century. Typical example of Grand Tour painting, the painting offers a glimpse of the Gulf of Naples animated by numerous boats, of which in the foreground one of fishermen landing on the beach, where their wives and children await. In the background stands the smoking Vesuvius. The scene is lively for the vitality it expresses and for the colors, although the pink shades of the sky and Vesuvius recall the romantic note of the painting of the time. The canvas has small color drops. It is presented in a stylish frame.

Portrait of R. Linard 1887

Oil on canvas. At the top right there is the signature, the date and the dedication with the name of the friend portrayed ("a mon ami R. Linard"). Little is known about the author, known in Paris and cited as a pupil of Carolus Duran, one of the most popular painters in the city, a portraitist who distinguished himself for his realistic vigor, breadth of composition and richness of color. Also in this work, of excellent composition, an intense expressive force is found: the man's face emerges from the dark background (in which even the shoulders dressed in black are confused), with a penetrating gaze that looks straight ahead, flaunting security. Restored and relined, the painting is presented framed with a stretch of rope.

Oil on canvas. The scene, still with a romantic taste due to the pink atmospheres, sees a stream that flows with waterfalls and jumps between the rocks of an impervious landscape, dominated by rocky peaks; on the shore, a shepherd boy sitting on the boulder, contemplating the landscape. The painting has some color losses. It is presented in a coeval redorated frame.

Glimpse Of Naples Bay

Oil on board. Signed at the bottom right. On the back there is a stamp of the art studio-workshop in Naples. The view of the Bay of Naples shows a landing place for small fishing boats, along a beach populated by numerous figures. Vesuvius rises in the background, its outline fading into a cloudy grey sky, which takes the sunlight away from the day, illuminated rather by the bustling bustle of people on the promenade. Very little is known about the Neapolitan artist Eduardo Scognamiglio: his work includes numerous views and vistas, mainly of Naples, but also popular genre scenes and portraits of popular figures. His production had a large following abroad, where he was known, appreciated and widely requested, earning him the English name of Edwardo. The painting comes in a revival frame.

Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.

Pencil, charcoal and white lead on paper. SIgned (Amalia Bianche?) and dated at the bottom right. Very effective is the use of different pigments that creat a play of chiaroscuri underlined by the figures. The portrait come in a 19th century wooden frame that had been embellished with leather floral and leafy inserts. It shows small drops of color and missing parts.

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.