Painting by G. Micheroux The Bread's Oven Oil on Canvas XIX Century - Landscape with Figures and Bread Oven

Oil on canvas. Anonymous author, probably English (on the back of the canvas there is a stamp of the London origin of the canvas itself), the large painting portrays two figures, a man and a girl, who are walking away from the city in the background, with its minarets and domes; the girl holds a long palm branch on a shoulder, while she supports the man with her other shoulder and her hand, guiding him along their way. The colours stand out in the painting, the darker colours of the clothes and the skin of the figures contrast the light ones of the city and the clear and bright sky. The painting is presented in a coeval frame decorated with gilded shells.

Wooded Landscape with Figure 1889

Oil painting on canvas. Signed and dated lower right. The pleasant landscape view, takes up a corner of the wooded countryside, crossed by a stream that a young woman is wading for a walk. The naturalistic dimension occupies the whole scene, filled with all the ranges of green and the play of light that filters through the branches, interrupted only by the white-dressed figure. Cabutti was a Piedmontese artist who devoted himself mainly to landscape production inspired by his lands, the Alte Langhe, widely represented and proposed in all its different varieties. The painting has small traces of restoration on the back; it is presented in a coeval gilded frame.

View of the Ligurian Riviera

Oil on canvas. At the bottom right there is a trace of the signature; on the back a cartouche with the painter's signature and another with the title of the work "A construction site, Riviera di Levante, near Recco". The foreshortening of the Riviera describes the construction site of a large boat, it would seem a vessel, on the beach near the town; several popular figures animate the scene: women washing clothes, the cart carrying some materials, the carpenters, fishermen near their boats on the right; the whole beach around the boat is occupied by the wood used, while the classic Ligurian promontory stands out in the background, occupied by the green hill. Giovanni Battista Ceruti was born and died in Milan, where he exhibited on several occasions; of its production only a few works are known, all of which are marine views. The painting has a slight tear in the upper left. It is presented in a gilded frame from the late 19th century.

Male Portrait in Profile

Oil on cardboard. signed lower right, with a dedication "to friend G. Rutelli". Of humble origins, Angelo Dall'Oca Bianca, even once he became an established and appreciated artist, frequenting the Italian and international artistic-cultural environment, always maintained the bond with his city, a continuous source of inspiration for his artistic production, and for its poor; in 1939 he built the Dall'Oca Village in Verona, for the benefit of the poor of the city, and in 1941 he made a will, leaving all his money and his paintings to the city of Verona for charitable works. His painting was always of a purely realist mold, influenced above all by his contact with Giacomo Favretto who allowed him to enrich his painting technique with bright colors and a large and vaporous style, and by the use of photography as a memory for the representation of truth. . The work, a portrait of a male figure seen in profile, is lively in the colors. It is presented in a stylish frame.

Oil painting on canvas. Northern European school of the eighteenth century. A plate on the frame attributes the work to Meindert Hobbema (1638 -1709) one of the greatest Dutch landscape painters. While not confirming the attribution, we appreciate the good pictorial quality of the tree-lined landscape, enlivened by figurines and with a charming cottage that stands out in the centre, where the play of light and shadow created by the sun between the branches of the trees stands out. Restored and relined, the painting is presented in a mid-1900s frame.

Oil painting on canvas. Bolognese school of the XVII -XVIII century. Mary and the Child Jesus, who is in the arms of his standing mother, with his arms already extended to recall the Cross, are placed against a naturalistic background, which fades into a rosy sky in the distance, while on the right stands the shaft of a column. The faces of the two figures show a strong resemblance in the somatic features, in particular the eyes stand out, highly expressive in their seriousness. The pictorial methods look to the painting of Elisabetta Sirani (1638 -1665), who influenced Bolognese painting by introducing expressive and emotional modalities very early in the gazes of her characters. The work, restored and relined, is presented in an antique frame.

Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.

Les Gueux, 1622 (complete series)

Etchings. This is the complete series of 25 engravings on paper of the "Beggars" (Les Gueux), made by the French engraver in Nancy, and widely reproduced for the popularity it obtained; Rembrandt, who owned a collection of Callot's prints, was inspired by them for his beggar figures. Beggars or commoners of Italian origin are depicted (Callot drew them in Italy) who symbolize the poverty and the wounds of the human condition. The engravings have not been signed by the author, but have been numbered; only the first engraving, which portrays a very humble character carrying a flag with the words "Captain De Baroni", and which also represents the title page of the collection, shows the name of the painter and engraver. The whole series is presented in frames in style.

Oil on canvas. Lombard school of the eighteenth century. An almost garland-like composition of variegated flowers, which occupy the entire pictorial field, against a dark background from which they emerge by themselves, without any other furnishing element. Restored and relined, the painting is presented in a frame in the early 1900s style.

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.