Antique Painting Religious Subject Oil on Hardboard XVII Century

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century frame.

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.

Mountain Landscape, 1917

Oil on cardboard. Signed and dated lower right. Originally from the province of Cuneo, Giovanni Rava dedicated himself mainly to landscapes, rendered in realistic forms and with an impressionist touch, in the shades of luministic effects. The work is presented in a mid-20th century frame.

Oil painting on canvas. Bottom right signed Borella and dated 1894. It is probably Rafael Borella (1874 -1953), a painter born and trained in Milan but then moved to Uruguay. His first Italian production includes Venetian and Val d'Aosta landscapes. This painting, which offers a mountain view, with meadows crossed by a stream near which a fisherman sits. The scene could therefore be a youthful production by Borella, suited to him in terms of subject and style. The work is presented in a contemporary frame.

Landscape with River and Figures 1878

Watercolor and pencil on paper. Signed and dated lower left. We know of several landscape views of the English countryside by the English painter Henry Clifford Warren, mostly painted in watercolour. Here is a view of a wooded countryside crossed by a wide river, with a shepherd leading his cows to graze on the hill in the foreground. Presented in a frame.

Oil on panel. Northern European school of the late 19th century. In the composition inside a shed, hunted game lies on a level; on the left the muzzle of the hunting dog appears but is turned towards a nest full of chirping birds, located above the shaft of the carriage seen on the right. The painting is presented in a period frame.

Madonna with Child

Oil on hardboard. Signed lower right. Francesco Mazzucchi, an artist originally from the Pavia area and active in Lombardy, dedicated himself mainly to sacred art, leaving his works in some churches in the Vigevano area. Proposed here is this delicate and tender depiction of the Madonna with Child, in the colors and scene, which sees mother and son in a moment of domestic intimacy, intent on playing with the pigeons in the garden. In frame.

Pencil on paper. Good use of the hatching and chiaroscuro are shown in this portrait of a young woman. The portrait comes with a 19th century wooden frame that had beeen embellished with leafy and floral leather inserts; the frame has some color drops and some missing parts.

Burin engravings on copper. Designed by Vincenzo Gazzotto and engraved by Antonio Bernati (1792-1873) in 1833, these are four engravings taken from the figurative repertoire "The costume of all nations and of all times, described and illustrated with an atlas" published by Lodovico Menin between 1833 and 1843. Each panel is numbered in the upper right corner, and bears in the upper center the indication of the geographical region and historical period of the costume scenes depicted. There are costumes: Lombardi sec. IX - X; Lombardi sec. XIV -XV; Tuscans sec. XIII-XIV; Marca Trevigiana sec. XIV. The engravings are presented in wooden frames from the mid-1900s, in an antique style.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Oil on canvas, applied on panel. Central Italian school of the 18th century. It depicts the evangelical episode in which Jesus welcomes the children to himself, urging his disciples not to push them away: "Let the children come to me, for theirs is the Kingdom of Heaven". The scene is full of figures that overlap and intertwine: in the foreground Jesus seated on the right, opens his arms in a sign of welcoming the children who approach him, urged by their mothers; in the background the disciples, with Peter recognizable in the center who tries to push a boy away, but their gaze is turned to Christ, who looks at them and urges them to welcome them. In the background of the scene some architecture appears, in particular the pyramid stands out which symbolically represents the tension, the ascent towards the top. The painting has an evident lack of canvas in the center, patched with the application of a wooden panel to the back. It has other small traces of widespread restoration. It is presented in a 19th century frame.