Oil on canvas. Lombard school of the seventeenth century. A smiling young girl is portrayed in an elegant black dress, embellished with lace on the neckline and a play of red and green laces and ribbons on the sleeves, which match the red embroidered petticoat; she wears her jewels around her neck, wrists, ears, in the hairstyle of her hair, where the austerity of pearls is lightened by colored ribbons; she holds a bouquet of flowers in her hand, which emphasizes her gracefulness and grace. Restored and relined, on the second canvas there is written, probably a copy of the original on the first canvas, which indicates who the young woman is: \\\"Margh.a D. Gridonia Gonz. Agnella - Soada Maffei - D\\\'etta Anni XVIII\\\", followed by a coat of arms with the initials C FAS This writing, in addition to defining the name and age, highlights the young woman\\\'s belonging to the College of the Virgins of Jesus in Castiglione delle Stiviere, founded in 1608 by the Marquise Guidonia Gonzaga together with the two sisters Cinzia and Olimpia, all nephews of San Luigi Gonzaga. This college had the purpose of imparting an education to young noblemen or young people from good families, who, with the dowry donated to the college, contributed to the sustenance of the same. The portrait has minor flaws. It is presented in an ancient, non-coeval frame, with small shortcomings.

Oil painting on canvas. French school of the late 19th century. At the bottom left is the signature P. Detanger, unknown author. Intense portrait of a noblewoman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil painting on canvas. Nineteenth century. Dignified and severe lady, in a lightened black dress with a white collar. In a late 19th century frame.

Female portrait 1869

Oil painting on canvas. Signed and dated on the right. Little is known about this French artist, who was basically a portrait painter, as his known production all fall into this category of subject. The painting denotes expressive intensity and good pictorial ability. Restored and relined, it is presented in a period frame.

Oil on canvas. The girl is sitting on a step in a garden; she holds a pansy in her hands and at her feet are some cut roses, from the potted plant behind her; in the background on the right, you can see the sea in the distance. The shades of rotten green dominate, fading from the sky, to the girl's dress, to the plant, maintaining a chromatic uniformity interrupted only by the rosy face and hands and scattered flowers. The painting. restored and relined, it is presented in a frame built on an ancient wooden base.

Eyes 1995

Oil painting on canvas. Dated and signed on the back. Born in Seregno, Danilo Martinis was trained with Osvaldo Minotti. Painter and designer, he has furnished prestigious residences all over the world, his works are particularly appreciated in the United Arab Emirates and in Russia. He loves to express his thoughts through graphic-figurative images rendered through geometric effects and chromatic games, using mainly female figures as interpreters. In this work he proposes a very close-up of a female face, in particular framing the eyes.

Male face

Oil on canvas. Signed lower right. The Milanese artist Carlo Jacono was an illustrator and painter: his unmistakable style, the mastery in the execution, the prolificacy and artistic ability in over 50 years of career, the knowing how to lend himself to different genres and the great success at readers and publishers made him one of the masters of Italian illustration and one of the most appreciated and well-known names on the national and international illustration scene. He was also known as the "Man of the circle", a pseudonym due to the layout of many of his covers in pink, police, science fiction, Italian, English, Swedish, Norwegian, American (we recall, among many, the covers of the series "Il giallo Mondadori "), or more simply with the surname only, Jacono, with which he signed himself. Starting from 1970 Jacono also embarked on a career as a painter, exhibiting in personal exhibitions both in Italy and abroad, preferring a figurative vein with a romantic connotation that finds its masterpiece in the series of "The warriors". They said of this production: "they are apparitions of warriors of other times, which the imagination comes to realize even in the minute features of the face, and to imagine in the most reckless actions". Probably the painting presented here is also part of this series: it is the face of a Nordic warrior, as can be deduced from the fur headdress that frames the proud and concentrated face in which the cold blue eyes stand out, and from the burnished metal collar engraved with signs graphics that refer to the Nordic runes; half-length, the shoulder straps of the armor can be seen. The painting is presented in a frame.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. An elegant lady in black, with refined white lace at the neck and wrists that lighten her outfit, is sitting on a red armchair and leaning on the marble top of a round table, flaunting the rings on her hand. The work is presented in a coeval redorated frame.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Oil painting on canvas. Signed in the lower right corner and on the back (Verschafeldt). Light losses of color. In coeval frame with missing parts. Early 20th century.

Pencil on paper. Portrait of woman with a good with beautiful rendering of chiaroscuro in pencil. It comes in a coeval gilded frame.

Oil on canvas. The portraited gentlemen can be identified by the letter that he is hold taht is addressed to " Sig. Fran. Giulini, municipal councilor." As we desume from the almanac of the Province of Como of 1846, Francesco Giulini was councilor of the " Municipal Congregation of the Real City of Como", in charge of the streets department. The painting had been restored and displayed in a revival frame.

Female Portrait

Mixed technique (pastels and tempera) on cardboard. Signed top left. Originally from Alessandria and trained at the Albertina Academy of Fine Arts in Turin, she devoted herself mainly to landscapes, figures, and above all to portraits, making them of various personalities from the world of entertainment and Italian cinema. Dina Bellotti is also known as "the painter of the popes". Starting from the first half of the seventies, in fact, he made some portraits of Paul VI and, later, of John Paul II, kept in the Vatican and used as official images of the popes. The portrait proposed here is that of a refined lady, who lets herself be portrayed in a casual and languid pose: the white with blue shades of the woman's blouse stands out against the beige monochrome of the background, of the skirt, of the armchair, which fade without contrast even in the skin color. The painting is presented in a contemporary frame.

Oil painting on canvas. 1930s ca. The woman depicted wears an overcoat which in its style recalls the military clothing of the fascist period, to which the painting dates back. Even the pose of the woman seems to be military, proud and erect, with a stern gaze that understands her role. The work is presented in a gilded frame from the early 1900s.

Oil on canvas. Italian school, 17th century. The lady, dressed in black, poses near a small column on which a medallion with a coat of arms is placed and on which the age of the woman, 60 years old, is engraved. On the back of the second canvas, undergoing restoration, the woman\\\'s name has been stamped. Restored and relined, the painting is presented in an ancient, non-coeval frame.

Oil on canvas. Portrait of a bourgeois woman showing off the cameo brooch on her jabot. The painting comes in a coeval gilded and refined frame with floral cimatium and lateral freizes.

Portrait Of Masai Warrior

Oil on faesite. Signed at the bottom right. Portrait of the Masai warrior that shows his pride with his pose and look. It comes in frame.

Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.