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.

Portrait of a young commoner

Oil on canvas applied to the table. Signed lower right. Antonio Vallone, a Neapolitan painter close to Morelli's school, specialized in genre portraits, above all of smiling young men and women, street urchins or peasant women typical of his homeland. The work is presented in a period frame.

Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.

Mixed technique on paper. Signed lower right. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production is portraiture, which nevertheless expresses his ability to use color as a delicate transparency, which brings out the effects of light and shadow generated by human expressions even in the faces. The work is presented in a frame.

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.

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. French school of the eighteenth century. On the base of the column to the right, there is an inscription with the woman's name, age 86 in the year of the portrait ("Marguerite Paree agèe 86 ans en 1762"). The canvas, with signs of restoration and relining, has a rather marked crack.

Portrait of a Street Boy

Oil on canvas applied to the table. Signed lower right. Antonio Vallone, a Neapolitan painter close to Morelli's school, specialized in genre portraits, above all of smiling young men and women, street urchins or peasant women typical of his homeland. The work is presented in a period frame.

Female portrait 1950

Oil on canvas. Signed and dated (1-5-1950) in the lower left corner. Born in Bologna but artistically trained at the Brera Academy in Milan, in the early 1900s he studied in Paris, where he can admire the painting of the great masters of the past and follow with great interest the new pictorial trends that advance in the climate of general renewal brought by the new century. In fact, influences of themes such as symbolism and divisionism can be found in his paintings of the first decades of the twentieth century, but Mascarini chooses not to let himself go by the new currents that acclaim the deconstruction of form, remaining in the enclosure of his studio to paint the affections and gazes. of everyday life closest to him. His figurative language draws on the Lombard naturalism of the late nineteenth century, his painting is framed in a sober and balanced drawing. Landscape and portrait painter, he proposes delicate and placid scenarios, such as the glaciers he paints as he climbs in the silence of the high mountains that he loves very much, and portraits with faces harmoniously framed by soft brushstrokes, which express intimate feelings. The portrait of a lady presented here proposes a figure who, although elegant in her evening outfit, expresses serenity, calmness, intimacy rather than worldliness in her face and pose. The work is presented in a contemporary frame.

Portraits of Children, 1930

Photographs retouched with pastels. Signed bottom right. On the back of three of them is the date 11 November 1930. A photographic sequence of the portrait of three children is shown, who slightly change their pose or expression. They are the work of the British photographer Eva Barrett who, after an initial experience as a painter, decided to dedicate herself to photography, thinking that "it was better to be a first-rate photographer than a second-rate [painter]. Having moved to Rome in 1913, she established her laboratory here. Pictorialist, with a small camera, Eva Barrett created her own photographic method that was reminiscent of drawing sketches: she applied a few very light pencil strokes, managing to create subdued images but with particularly dense blacks, thus maintaining the characteristics of photography and portraits. In this way he was very successful and his career took off. Eva Barrett photographed the Italian royal family, the wives and children of foreign ambassadors, as well as received numerous commissions from European royalty in Belgium, Sweden, Greece. The four portraits are presented in style frames.

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).

Portrait of a child

Oil on canvas. Signed lower right. Palermitan painter, Francesco Camarda distinguished himself for figure painting, dedicated to portraits and the nude, and above all for animalist painting, in the wake of the realist production of the Palizzi brothers. He was able to express a painting with a lively and fresh color. In this small canvas is proposed the portrait of a child sitting on a chair, hooded to frame the plump and smiling face, the direct gaze, the plump little hands resting on the knees in a proud and resolute pose. The work is presented in a contemporary frame.

Oil painting on canvas. Italian school of the 18th century. portrait of a noblewoman in rich evening dress, with an ermine cloak draped over her shoulders, indicating her high lineage. Relined, the painting is presented in an antique gilded 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.