Antique Painting G. Muzzioli Female Figure Oil on Canvas - Female Figure

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.

Tempera on canvas. Framed in a painted, scroll-carved and gilded frame, a mother and daughter are portrayed: the young woman is languidly stretched out on an Ottoman sofa, and caresses the little girl kneeling next to her, holding a lunch basket in one hand. On the back there is a restoration, with a patch in the central part. The work is presented in a period frame.

Alpine Pasture with Cows

Oil on canvas. Signed lower right. On the frame a label with the name and dates of birth and death of the artist, of whom there is no further biographical information. The painting offers a glimpse of a wide, green Alpine valley, where a herd of cows grazes, near the watercourse. Realist in style, and with impressionist suggestions, in the dims of light and shadow, of reflections in the water, of shaded colors. It is presented in a period frame.

Mountain Landscape with Lake 1863

Oil painting on canvas. Signed and dated lower left. The Prussian noble painter Stanislas Eduard von Kalckreuth distinguished himself for the production of mountain landscapes, in particular views including the small bodies of water on the mountain peaks. This work was previously sold at public auction in Munich. Restored and relined, it is presented in a period frame.

Oil painting on canvas. The composition features mixed fruit - grapes, apples, medlars, figs - placed on a cloth together with some mushrooms and some pink peonies. The colors stand out against the dark background. The painting is presented in an adapted style frame.

Signed J.M de Medeiros

Oil painting on canvas. Along the right margin there is a dedication in Portuguese "Ill'.. Offerece Agradecide (with gratitude)", with the signature JM De Medeiros and the date 1875. The work can be traced back to the Brazilian painter De Medeiros, of whom he only knows that he taught at the Academy of Fine Arts in Rio de Janeiro in 1885. The painting presents the portrait of an elderly man, with a flowing beard, a serious and concentrated gaze on something distant, and dressed in a tunic and pallium, therefore evocative the figure of a thinker or philosopher of antiquity. The work has patches on the back. It is presented in a contemporary frame,

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

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. Genoese school of the 18th century. The countryside landscape sees a crumbling structure rising in the center, the ruins of a building through whose torn walls you can see the masses of white clouds in the background flowing; in front of it flows a stream, in which a woman is washing clothes, while her companion sits on a nearby rock, in line with the female figure and almost symmetrical with the female figure. The scene is characterized by a particular search for light, by a dynamism of forms (you can notice the directional continuity of the treetops with the roof of the ruin and the clouds) and by the theatricality of the figures, all elements that have defined the pictorial production of the Genoese Baroque. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Large scene of the Nativity, which develops on two crossed lines: a vertical dimension centered on the architectural structure in bricks and straw, the stable that gave shelter to the family of Nazareth, over which the angels hover announcing the divine glory; horizontal dimension in the lower half, composed of a multitude of figures: in the center the Holy Family, on the two sides the shepherds who go to honor the Child, bringing their simple gifts in nature. Of simple and popular taste, the scene is placed on a poorly defined background. The painting has been restored and relined, but still has large losses of colour. In frame.

Oil painting on canvas. In the composition, a woman with her child, in ancient clothes and flanked by an ox, kneeling on steep ground, stretch their arms upwards in an act of supplication or perhaps contemplation: it could be an interpretation of Mary who accompanies Baby Jesus to contemplate his destiny, with the ox which refers to the birth and simple pastoral life of the Holy Family. Restored and relined, the painting shows several traces of color loss. It is presented in a stylish frame.