Bust of a Young Woman in Bronze - France Late 19th Century Early 20th Century

Gouache on cardboard. Accompanied by a Finarte authentication from 1982, which defines it as "Marco Ricci school". The landscape features a wide valley nestled between mountain peaks and inhabited by a village, with the river in the foreground, on whose bank some characters are engaged in conversation. The colors are soft and bright. The work is presented in a period frame.

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. Looking at the compositions of the 17th-18th century, the painting proposes a composition of variegated and colorful flowers, which surmount a sculpture of three fauns and a cut pumpkin. It is presented in a contemporary frame.

Mixed technique on paper. The work is signed lower right A. Mancini, but cannot be attributed to the master Antonio Mancini, but rather to a contemporary imitator. However of good quality, it presents the face of a young commoner. It is presented in a contemporary 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.

Oil on canvas. Looking at the still lifes of the past, the canvas offers a colorful and detailed outdoor composition, with fruit stands, vases of flowers and, in the center, a hunting rifle with the hunted prey, a hare and some birds. The painting is presented in a contemporary frame (to be regilded).

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.

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

Crayons on paper. At the bottom right there is a signature attributable to Andrea Favero (1837 -1914). It is a pleasant and delicate portrait of a little girl from a poor family, but dignified and proud of her hairdo. She poses outdoors, in front of a flat countryside. The painting is presented in a period frame.

Oil on canvas. Central European School of the early 1900s. Signed R. Muller lower left. The composition, which evokes still lifes of the most ancient taste, offers a large variety of fruits (white and black grapes, oranges, pears, strawberries, small pumpkins) arranged in a basket and on a stand, on a uniform background. The painting is presented in a period frame.

Oil on canvas. Portrait of a gentleman proudly displaying an important medallion, perhaps an award, an award he has been awarded, and his rings. The painting has slight damage to the lower parts. It is presented in an early 1900s frame, repainted and with small scattered losses of color (to be restored).