Family Portrait Pastels on Paper Italy XIX Century

Oil on canvas. Lombard School. It belongs to an important milanese family. Portrait of a gentleman that is holding a chain with a coat of arms in his hand. The painting shows some color drops and comes with coeval gilded frame.

Oil on canvas. Tacito in the Annales tells the deail of Seneca's death wanted by Nero who was Seneca's pupil and who accused ihm of taking part in a conspiracy against him. This theme had been often painted because of the intense pathos that it tranmits: Seneca chose to suicide himself rather than being killed by an executioner and in the painting is represented on his deathbed with the doctor that is witnessing his death while he is dictating his last wishes and his wife Paolina is crying. The painting has several color drops that need to be restored. Displayed in a coeval gilded frame from 20th century.

The Guns Dealer in Alexandria

Oil painting on canvas. At the bottom right the signature of an unidentified artist. On the frame, a plate with the title in French, which locates the scene in Alexandria, Egypt. In a street of an Arab city, with white houses reflecting the light under a clear sky, an old merchant offers weapons to another man, who is cocking the long musket he is holding as a test. The intense luminosity typical of orientalist subjects dominates, in vogue in the nineteenth century. The painting has a patch on the back; it is presented in a stylish frame.

Oil painting on canvas. Signed top left. Further signature, Rome location and date on the back. Riccardo Pellegrini, a Milanese painter, was a pupil of Domenico Morelli and was educated in the climate of romanticism. He was a landscape painter and genre painter, but he also created valuable still lifes, with bright colors and a precise and realistic drawing. In this composition, two pheasants are lying in the center surrounded by pomegranates and bunches of black grapes, while in the background on the right, thanks to the reflection of light, two bottles of wine are barely visible. The painting is presented in a carved wooden frame from the early 1900s.

Pastoral Scenes

Oil on panel. Decorated with pastoral scenes on a monochromatic light green background, with couples, children, farmers depicted during moments of rest and conversation, in the guise of the models from the 18th century. Probably wooden panels from the doors of furniture, the paintings have been recently mounted on wooden frames. They present some paint losses and spots, especially where the background is.

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.

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.

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.

In Val di Susa

Oil on the table. Signed lower left. On the back there is a partially torn cartouche with the name of the author, the title and residue of the label shows on the Italian landscape. Born in Domodossola and approaching painting and sculpture as a self-taught, Follini subsequently studied at the Accademia Albertina in Turin, as a pupil of Antonio foranesi. Skilled landscape architect, he chose and dedicated himself exclusively to this subject, portraying, with great poetry, many views of the Alps but also seascapes and landscapes of the places he met in his frequent travels to Italy and Europe. Praised by critics and supported by collectors, he participated in major exhibitions with a dense production, characterized by an elegant stroke and a loose and expressive brushstroke. In this painting an Alpine glimpse with a pastoral figure is proposed. It is presented in a contemporary frame.

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.