Antique Painting Signed Louis-Eugène Collin Oil on Canvas 1892 - Le Bionnay 1892

Love and Wine

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting presents a cheerful and gallant scene between a young and attractive innkeeper, who is pouring wine from the barrel into the flasks, and a customer who approaches her to have his glass filled. The painting has slight color losses. It is presented in a glass case frame, in style.

Soap Bubbles

Oil on metal plate, with a trapezoidal shape and a concave center, in which the pictorial scene is inscribed, while the four corners are embossed with decorations. The painting offers a joyful scene: a group of children play with soap bubbles that one of them is blowing, while the others watch them amused and the older girl lifts the little one up so he can catch them! There are slight color losses. It is presented in a style display frame.

Gallant Scene 1885

Lithography. Signed lower left. Published by Arthur Tooth in London. The scene is typical of the painter of Italian-Austrian origins: Eugene de Blaas favored cute and often mischievous genre scenes, with girls and young men (often placed in Venetian streets but not only) intent on chatting, gossiping and courtship games. His favorite subject was the common female figure, depicted with an angelic face with diaphanous skin and a mischievous and romantic look, described with bright colors and with excellent technique in her daily environment. The lithograph has widespread humidity stains. In a mid-20th century frame.

Ballerina 1896

Mixed media on cardboard. Signed dated lower right. Adolfo Magrini was a multifaceted artist: painter, illustrator, engraver, set designer, after an initial production influenced by the romantic painting of Palizzi and Morelli, he was contaminated by Central European influences, becoming more angular. This youthful work is still influenced by the Neapolitan artists with whom he trained. The painting is presented in a frame from the first half of the 20th century. Has some color damage.

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.

Oil painting on canvas. The portrait of the young man, elegantly dressed, is inscribed in an oval outline. There are slight drops of color and signs of sagging of the canvas. It therefore needs restoration. It is presented in a coeval frame, with various signs of wear, to be restored.

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.

Oil on canvas, applied to panel. A very human newborn Jesus lies abandoned in his sleep, while little John venerates him by kissing his chubby little hand; resting on the white sheets of the cradle, the pastoral staff in the shape of a cross, with the band bearing the writing "Ecce Homo": the only iconographic symbol of spiritual content, it is however also proposed in smaller dimensions, appropriate to the age of the two children. The work presents some small losses of paint. Strip frame.

Oil on canvas. The painting, made in the first half of the 1900s, takes up the landscape works in the subject and in the pictorial mode: in a landscape rich in vegetation and with peaks in the background, a young commoner asks for charity from some travelers who rest on the roadside , near a stone arch. The canvas has undergone aging and is presented in a late 19th century frame.

Oil on canvas. This is a copy of the famous work by Raffaello Sanzio (1483 -1520), created by the artist from Urbino in 1513-1514 and currently preserved in the Palatine Gallery of Palazzo Pitti in Florence. The figures, inscribed in a tondo as in the original work, are made up of Mary, sitting on a rich chair, Baby Jesus in her arms, and Saint John at her side; while the Mother and Child look forward - Mary directly towards the viewer, Jesus a little further away -, little John emerges from the dark background and addresses a prayerful gesture to Mary. The chair on which Mary sits is a Camerale chair, or one of the Pope's privileged seats, a strong symbol of authority in doctrine and certain teaching, attributes of Mary: She is the Mother of God who sits in the cathedra. The color of Jesus' robe is particular, a central yellow spot that refers to the robe of the "Servant", a warning for the Pope who commissioned the original work. The work is presented in a period frame.

Copper panels decorated with enamels. This is a 19th-century reproduction of the enamelled Cross of Paschal I (817-824), an important staurotheca in embossed and gilded copper, which contained within it minute fragments of the Cross of Christ, and which became part of the Treasure placed by Leo III (795-816) in the oratory called Sancta Sanctorum in the Lateran. The Cross is made up of five panels, arranged in the shape of a Latin cross, on which seven episodes from the life of Jesus are depicted with lively enamel figures. In the upper panel are the Annunciation and the Visitation of Mary; in the centre panel is the Birth of Jesus; on the left is the Flight into Egypt and on the right is the Adoration of the Magi; and finally in the lower arm is the Presentation of Jesus at the Temple and the Baptism of Jesus. The panels are composed on a wooden base and presented in a glass case frame.

Oil on canvas. Central European school of the late 19th-early 20th century. Unidentified signature on the lower right. The landscape glimpse shows a countryside with coniferous woods, crossed by a stream and dominated by rocky peaks. The painting is presented in a golden frame from the early 20th century, with decorations and friezes.