Charles X Fireplace Cherrywood Italy XIX Century - Emilia Second Fourth XIX Century

Oil on cardboard. The painting presents a rugged mountain landscape, with a female figure in traditional central Italian clothing walking on the path, carrying her load on her head. The typology of landscape refers to the nineteenth-century production of "Grand Tour", which offered landscape and urban views as "souvenir postcards" for European travelers to discover the artistic beauties of Italy (and beyond). On the frame there is an attribution to Alessandro Castelli, a nineteenth-century Roman painter and engraver. The painting is presented in a frame from the early 1900s.

Embroideries on canvas, cut out and applied on a wooden panel. Probably belonging to a larger composition, then reworked to create decorative series, the chalice-shaped corolla of a flower with a long stem, filled with fruit and other flowers, with variegated colors. It is presented in a stylish frame.

Embroideries on canvas, cut out and applied on a wooden panel. Probably belonging to a larger composition, then reworked to create decorative series, the chalice-shaped corolla of a flower with a long stem, filled with fruit and other flowers, with variegated colors. It is presented in a stylish frame.

Glimpse of a Barn

Oil on wooden hardboard. Signed lower left. The farmyard of a farmhouse, where hens scratch around in the shade of a large leafy oak, is rendered in the characteristic pictorial style of Leonardo Bazzaro, who uses quick and broad brushstrokes, with soft outlines, to create an enveloping atmosphere of peaceful everyday life. Milanese by birth and training, Leonardo Bazzaro is considered a lively exponent of Lombard impressionism, dedicated to chromatic and luministic research. His very fruitful production of works was dedicated in the early years to Milanese interiors, but then attracted by open-air painting, he moved to landscape views and in particular he was attracted by the color of the Venetian lagoon, which led him to stay for a certain period in Chioggia. The painting 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.

Oil on wooden board. Signed lower right. Title and location on the back. Enrico Intraina was a Milanese artist who mainly produced landscapes and glimpses of his places, remaining linked to Lombard Naturalism. The painting is presented in a coeval 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.

The Artist and the Young Woman

Oil painting on canvas. French school of the 19th century. Tasty genre scene set in the studio of a young and blond painter, distracted from his work by the girl who, with her basket of vegetables on her arm, places a sweet kiss on his forehead, probably to reward the pictorial work she is pointing to with the finger outstretched. Lively in the colors, as well as in the attitudes of the characters, rich in furnishing elements and details, the work appears successful and has a pleasant effect. It is presented in a coeval frame.

Oil painting on canvas. Unidentified signature lower right (Solini?). The man is portrayed with a headdress and home clothes, while holding in his hands an object that could be a snuffbox, to underline the dimension of domestic rest. The painting is presented in a frame from the early 1900s.

Oil painting on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this one, a beggar wrapped in a tattered blanket stretches out his hand on the path. Presented in a stylish frame. Small drops of color at the top.

Oil on canvas. At the bottom right are the initials SM and the date '51. Perhaps of the French school, the painting is probably part of a series of portraits of popular figures placed in sparse and deserted landscapes, with chromatic connotations of a romantic taste. In this, a wayfarer, an elderly woman of the common people leaning on a stick, is counting the coins she has received in her hand... or perhaps those she wants to donate? Presented in a period frame, the painting has some small drops of color and a small hole in the centre.

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.