Ancient Painting Portrait of a Young Woman Crayons on Cardboard '800

Oil painting on canvas. This portrait of a woman dressed in a very abundant dress that hides her shapes and with her face covered by a black mask is curious: the visible portion of the face suggests a young and smiling face, the furtive attitude of one who tries to hide behind the heavy marquee, suggests a joke in progress, in theme with a party, a pleasure-loving moment. The painting is presented in a coeval frame.

Park

Watercolor on paper. Signed lower right. On the back there is a label from the Manzoni Art Gallery in Milan, with the data of the work. A leading exponent of 19th-century Lombard painting which was always linked to the love for the real, Pompeo Mariani was also called "the Italian impressionist", due to the influence in his works of French impressionism and those experiences, not only cultural, which constituted the era of the Belle Époque, which the artist lived between Milan, Bordighera, Nice and Montecarlo. In this small watercolor Mariani offers a glimpse of a city park, adorned with statues along the gate. The painting is presented in a period 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.

Oil painting on canvas. Hens and chicks are scratching around in a garden, overflown by the ravenous little bird of prey. The scene is entirely painted in the shades of the brown colors of the earth, in which animals and plant elements are confused, and even the vegetation smokes in the cloudy sky. The work has marked cracking. In strip frame.

Oil on wooden board. The painting pictorially reproduces the famous sculpture by Michelangelo, the Pietà of San Pietro or Pietà Vaticana. The composition of the figures is quite faithful to the reference work, but, as well as being painted in colour, it is placed in an open-air setting that refers to Renaissance painting, with the hill of Calvary emerging in shadow on the left. A coat of arms is painted at the bottom left, evoking a noble patronage. The work is presented in a period frame. It has several spots and small drops of color.

Oil painting on canvas. The painting offers in ancient style the glimpse of a landing place for fishing boats on the coast, near the village; on the shore in the foreground, figures of commoners waiting for the sailing ships. The color patina is also antiqued; the painting is presented in a 19th century frame.

Oil painting on canvas. In a Mediterranean-type coastal landscape, due to the vegetation characterized by the palm tree and the agave plant in the foreground on the right, an architectural stone structure is found on the right in which the Castle of Terracina can be recognized, while on the left the lake opens up of the Circeo and far away barren peaks rise; in the foreground on the left is a male figure intent on quenching his thirst from the leather skin; with the other hand he leans on the long rifle, while a characteristic headdress is placed on the ground, which evokes the one worn by nineteenth-century brigands. The scene is set at sunset, as the absolutely orange sky evokes, which gives it a romantic and suggestive atmosphere. The work, restored and relined, is presented in a frame from the early 1900s.

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.

The rat

Oil on canvas. This is a copy of the famous painting by Giacomo Favretto, which was presented at the Brera Exhibition in 1878 and is now in the Pinacoteca of the same Milanese Academy. The Venetian Giacomo Favretto established himself as the best narrator of popular everyday life in the lagoon, and Il sorcio is probably his best known work and a typical example of his art. He loved to depict scenes of everyday life in a working-class neighbourhood of Venice, a working-class neighbourhood that Giacomo Favretto knew very well since he too came from a lower-class family. In this painting, a child is chasing a mouse while three girls, probably his sisters, have literally climbed onto chairs and are following, at a safe distance, the hunt, giving directions to their younger brother: a subtle taste for irony is mixed with the painter's vivid descriptive and narrative skills, describing the scene with great realism and a typically lagoon-like luminosity that drew on the great Venetian tradition. The copy presented here faithfully reproduces, even in size, the amusing scene, albeit without Favretto's pictorial and luministic quality. The work is presented in a stylish frame.

OIl on canvas. North Italy School. Small glimpse of a steam that flows between the houses; we can see two figures, one is a soldier that is passing under the bridge on his boat; the other man is crossing the bridge while pulling a dunkey that is pulling a cart. The painting needs to be restored because of several drops of color of which the biggest one is on the left side of the bridge. It comes in a gilded coeval frame.

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.

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.