Ancient Painting Grass Juice Velvet '800 Mythological Subject Frame - Mythology

Coastal Glimpse

Watercolor on paper. Signed lower right. Salomon Corrodi established himself as a landscape painter, creating a large production of views especially of the Roman countryside, but also of the Amalfi coast, Naples, the Ligurian Riviera, which was widely successful throughout Europe. He preferred the watercolor technique. The work is presented in a period frame.

Nursing Goat 1854

Oil on cardboard applied to canvas. Signed and dated lower right. Renamed the "painter of animals", Filippo Palizzi renewed nineteenth-century Neapolitan painting by dedicating himself to the study from life, above all of the humblest subjects and animals of the peasant environment, creating works of intense realism but permeated by an intimate poetic intonation. He stood out above all for the executive meticulousness of the details of the portrayed subjects, an ability that is also found in this small picture, lively in its simplicity: the little goat seems to keep an eye on the viewer, almost for fear of being disturbed while her puppy feeds on she; all around is a flowery meadow and hedge, to create a serene and luminous atmosphere, with the white fleece, meticulously designed, which stands out against the green of nature. The work is presented in a period frame.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

The Astrea Ship 1904

Gouache on paper. Signed and dated 1904 bottom right. On the left, the name of the ship. Antonio De Simone belongs to the category of the Marinist masters, a category that was born in the 16th century and was received with great fervour in the Countries with great seafaring traditions, from the Netherlands to England, from France to Spain, in Italy and almost everywhere in the rest of the European continent, using everything related to seafaring as a subject. The highest popularity of this art genre was achieved in the 19th century and continued until the 1940s, in the last period of sailing and the advent of steamships. In Italy, the artists from the Campania and Liguria schools of painting and sea produced many paintings, some of which are called "portraits of ships": the production of the Neapolitan brothers De Simone is a part of this group. They specialized in painting portraits of important and famous luxury ships, both sailboats and steamboats. The gouache is presented in a frame.

Oil painting on canvas. North European school of the 19th century. The romantic taste pervades this nocturnal landscape, illuminated by the light of the full moon, barely veiled by scattered thin clouds; on the country path, which runs alongside the torrential course of a river, two figures of wayfarers can be glimpsed, a child holding a woman's hand. The painting is presented in a gilded frame from the end of the 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 on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.

Vase, Roman excavations, 1860

Oil painting on canvas. Signed and dated lower left. Further signature, date and title on the back. On the frame there is a stamp from an important private collection. The work proposes a composition of an amphora and a painted ceramic plate, surrounded on the right by roses. Milanese painter and decorator, Luigi Scrosati initially attended the Brera Academy, which he soon abandoned to devote himself to numerous trips abroad, in particular to Paris. Already from the beginning of his activity, in the 40s, he worked as a painter of still lifes strongly influenced by French examples, in particular from the Lyon school. Alongside the easel and watercolor production, dominated by the specialization of still life of flowers, Scrosati was very active as an interior decorator, often engaged in team work alongside architects and project managers, but always with considerable autonomy and a characteristic style , substantially eclectic and aimed at a reinterpretation of the styles of the past. The debut in this area, towards the end of 1842, consists of a cycle of frescoes in the residence of San Fiorano (LO) owned by Giorgio Guido Pallavicino Trivulzio, for which Scrosati decorated a Gothic room, a Rococo living room and a small entrance compartment. His frescoes can be found in numerous villas in and around Milan, works in which Scrosati refers to the styles of the past, re-proposing eighteenth-century suggestions, but also of the Baroque. The decorations in the Dante's Cabinet first and then in other rooms in the Palazzo Poldi Pezzoli in Milan (now home to the Museum of the same name) were instead of neo-medieval taste, made with the Bertini team of which Scorsati was part. The disease that struck Scrosati in the lower limbs in 1857, making him ill, probably prevented him from continuing his activity as a decorator, forcing him to fall back on floral easel painting, which led him to produce still lifes of flowers, but also portraits or fake bas-reliefs with garlands of flowers or even interiors and genre scenes, in which he was influenced by the German and Viennese production of the Biedermeier type and the French one of the Lyon school. In 1862 Scrosati was commissioned to direct a new Ornato course at the Brera Academy, with particular reference to flower painting and relations with industry, a course set up by the Braidense institution to expand the already flourishing school of ornamental painting. The work is presented in a style frame.

Oil on canvas. Epilogue of the great battles between Alexander the Great and the Persian king, the depicted scene told by Plutarch is about a riot which started among the Persian lines before Alexander's constant advance. Darius' trusted men took him as prisoner and stabbed him while the Greek army was approaching. Darius didn't make it to see the rival conqueror, but before dying he met with Polistrato, a Greek soldier who came at his bedside and gave him some water. Darius asked him for kindness and mercy for his family and his remains. Restored and relined, it is presented in a frame. Good condition. Late 1800s-Early 1900s.

The Announcement to the Shepherds

Oil painting on canvas. The scene opens on a large northern landscape, at night: in it various families of shepherds lie asleep with their animals; a light-flooded gash is opened in the sky, from which the announcing angels look out. The reference to the evangelical moment of the announcement of the birth of Jesus by the angels to the shepherds of Bethlehem is therefore evident, albeit placed in a European setting. Intense play of golden light that illuminates the figures enveloped in the darkness of the night, in particular the flock in the foreground in the center, and its shepherd who on the right turns his face upwards in a direct line that joins up with the arm of the angel projecting towards the earth. Already restored and relined, the painting has some dirt spots that need cleaning. It is presented in a gilded frame from the end of the 19th century.

Oil on the table. Northern European school of the 16th-17th century. According to traditional iconography, the saint is portrayed as he meditates alone, in an open place, reading the Bible, in front of the Crucifix, with the skull beside him; however, instead of a desert, the scene is placed in a Nordic landscape, rich in vegetation, with an architectural structure in the background on the left. also characteristic of northern Europe. The work is presented in a wooden case frame, with an enlarged base, in style.