Ancient Painting '700-'800 Architectural Capriccio Oil on Canvas

Under glass painting. The work appears to be composed of an engraving applied to the glass and painted on the back. Saint Peter the Apostle is depicted, intent on prayer and listening to the divine voice that comes from the open heavens above him; according to traditional iconography Peter has with him a bunch of keys, a sign of his investiture as the first head of the church, and a cockerel, which instead recalls the episode of Jesus' denial: Christ had predicted to him that during his Passion, before the rooster had crowed, Peter would have denied him three times, and so it was.

Wooden sculptures. It is a composition of two wooden heads, a male one and a female one, placed on a board and framed by a gilded frame of 19th century. The heads might had been the handles of a canteran of 17th century.

Male Portrait

Crayon and chalk on paper. Signed lower left. At the bottom right is the wording "from photography". The painter and poet from Portogruaro mainly devoted himself to sacred decorative painting for the churches of the Veneto and Piedmont. The portrait proposed here is presented in a coeval frame, which needs restoration due to multiple deficiencies.

Oil painting on canvas. Northern European school of the 19th century. Portrait of a curvy and composed lady, in sober house dress. Restored and relined, it is presented in a period frame.

Swiss Landscape 1857

Colored lithograph. Signed and dated at the bottom left. Jean-Pierre Thènot was a french painter, draftman, engravor and author of painting treatises. The lithograph shows a landscape view with high waterfalls on the right, probably the Staubbach Falls in the canton of Berne, and is animated by figures of shepherds with their flocks and couples on gallant walks; in the centre of the landscape is a chalet. The lithograph is part of a series of landscapes of Switzerland. The art piece comes in a coeval gilded frame.

Charcoal on paper. Unidentified signature with date to the right of the face. The name of the young woman portrayed, Teresina Rota di Valsecca, is mentioned on the back, with a further date. The work is presented in a coeval conception.

Concept of a Young Figure

Mixed technique on paper; drawing cut out and applied on cardboard. Signed lower right. It is a small study, probably to be included in a larger scene, of the figure of a child carrying a basket of vegetables on his head, still undefined but sketched with traces of green; the boy is dressed only in a short shirt. Neapolitan painter, but also museologist and teacher of figurative arts, Dalbono trained in the Neapolitan verismo movement which referred to the School of Resina. He loved the landscape, which he portrayed from life, preferring the hours of dawn with its play of light; but he also produced many genre scenes, with popular bourgeois subjects, animated by different figures and always with Naples as a background, its views and its landscapes, told with suffused atmospheres, full of poetry. The painting is presented in a period frame.

Male Portrait 1877

Pencil on paper. Signed and dated lower right, in the oval. It is an early work by the well-known sculptor Luigi De Paoli, corresponding to the years of study at the Venice Academy. He also devoted himself to painting only in the last years of his life. The work is presented in a late 19th century frame.

Oil on cardboard. The wide landscape presents a river, animated with figures and boats, that runs through the wide valley and which the small castle overlooks. The painting, that needs cleaning, is presented in an early '900 frame with some defects.

Fabric embroidery. The embroidery represents a half-length girl in a popular costume with a mask, in the comedy of art style. It is mounted on a wooden frame with two side handles, commanding a rear coupling, probably being a closing panel.

Tempera on wood depicting a half-length female figure; she wears a red dress over a light-colored tunic, while a green cloth rests on her right shoulder. The red hair is gathered in a central parting and is partly covered by a white headdress; the full face has an absorbed expression: the pensive gaze, the arched eyebrows and the slightly furrowed lips. Presented in a frame made with parts of an ancient frame of larger size.

Oil painting on canvas. Italian school of the 17th century. A biblical episode from the Old Testament is depicted: Susanna, the beautiful and chaste wife of Joachim, a rich Jew, is threatened by two elderly judges of the people while she takes a bath in her garden. The subject has been widely covered in art. In this painting, the beautiful Israelite occupies the center of the scene: placed outdoors near a fountain, on the left, adorned with the statue of a cherub riding a large fish, in Baroque style, the young woman expresses fear, in her gaze and in the gesture of the arm that tries to cover the nakedness. On the right emerge the two old men, with lascivious looks: one of the two asks the woman for silence with one hand, with the other he offers her a rich diadem with which he tries to buy her. The painting is lively in its figurative composition, with beautiful luminous effects in the colors of the complexion and clothes, with attention to detail in the description of the jewels in particular (the tiara and the girl's hair clip). The two men have faces tending towards the grotesque, in the expression well marked by wrinkles, large noses, large eyes. Restored and relined, the painting is presented in a gilded frame from the early 1900s.