Antique Painting Portrait of a Child Oil on Canvas XIX Century

Mixed technique (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. The scene represents the meeting between a high priest and a leader: if he is followed by his entire army, with grim and armed soldiers of different ranks, the priest is followed by all the people who praise the winner, while two young women on their knees they offer wreaths of flowers. Behind the scene, the mighty walls with the entrance door to a city, towards which the priest points, almost as if handing it over to the leader. The priest's clothing, in particular the presence of the so-called "Decision" breastplate that he wears, refers to an Israelite priest, and therefore the city could be Jerusalem; instead the clothing of the victorious leader, with the helmet surmounted by two horses, refers to Alexander the Great, who actually conquered the city in 332 BC. The drawing is presented in a carved wooden frame from the late 19th century.

Ludovico il Moro's farewell to his wife..

Mixed media (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. Ludovico Maria Sforza cries at the tomb of his young wife Beatrice d'Este (1475 -1497); around him the friars of Santa Maria delle Grazie and on his left Bramante and Leonardo. On the short side of the marble canopy of the tomb there is the Sforza coat of arms, with two snakes and two eagles. Il Moro was profoundly shaken by the early death in childbirth of his very young wife Beatrice, his companion in his private but also political life, as well as his husband's, a patron of the artistic geniuses of their court, such as Leonardo da Vinci. and Bramante, authors of many pictorial and architectural works of the Visconti-Sforza court. Various versions of this episode are known, especially from the nineteenth century, from that of 1815 by Giovanni Battista Cigola at the Pinacoteca Ambrosiana, to that of Alessandro Reati of around 1850. The painting is presented in a carved wooden frame from the late 19th century.

The Joachim Quartet 1904

Etching. Signed lower right; additional signature and date on the top corner of the sheet music. This is a famous portrait taken by the Viennese photographer and engraver Ferdinand Schmutzer, of the musical quartet directed by maestro Joseph Joachim (1831 -1907), famous Hungarian violinist, composer and conductor. Among the famous portraits painted by Schmutzer are those of Albert Einstein, Sigmund Freud and Richard Strauss. The work is presented in a frame.

Siege Scene

Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.

Oil painting on canvas. Signed lower left. Inside a rural kitchen, a peasant family allows themselves a moment of celebration: the father plays the mandolin, listened to by the little girl who seems to want to dance, assisted by her mother, and by the other women of the house, smiling as they carry out their domestic tasks. The production of the Neapolitan painter Giuseppe Giardiello always looked to the folklore of Neapolitan rural and peasant life, painting, with intimate and delicate tones, both scenes of domestic life and landscape views animated by figures. The work is presented in a contemporary frame.

Stable interior

Oil painting on canvas. Signed lower left. The work was previously acquired at the Sotheby's auction in Milan on 10/12/2007. It was exhibited in 1991 in the exhibition "Giovanni Sottocornola. Images from a collection" held in Milan at the Silbernagl Gallery. After an initial pictorial phase dedicated to portraits and still lifes, in the 1880s Giovanni Sottocornola approached social themes, which were becoming the favorite subjects of young Lombard painters attentive to the poorest aspects of society, linked to the adoption of original artistic techniques. Sottocornola embraced the practice of pointillist painting, of which he wrote in 1895 "For now it is certain, I am convinced that there is no other painting more capable of conveying certain sensations than this one". However, this type of painting remained entirely focused on light, on its uncertain tonal vibrations, as happens in the Interior of a stable, created towards the end of the 1980s, where the plays of light and shadow play and create the effects visual in the brushstrokes of color played on a few chromatic ranges, those of browns, expressed in a wide variety of shades. The work is presented in a period frame.

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Oil painting on canvas. The large scene depicts Mary, already Assumption into heaven and supported on the clouds by little angels, receiving the Crown from the Holy Trinity. This coronation expresses the apotheosis of Mary, who by becoming "Queen of Heaven" becomes the intermediary between the earth, Humanity, and Heaven, the Divinity: what is not given to man to see becomes possible through Mary who in this glorification is more than ever the tenacious thread that binds us to the Almighty, the true "gate of heaven", as it is defined by the Fathers of the Church. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. The identification of the saint is given by the presence of the large wooden wheel, symbol of the instrument of her martyrdom. Usually the saint is represented with a crown on her head and dressed in royal clothes to underline her princely origins. Instead here we have an atypical depiction of her, with her hair loose, covered only by a large red cloak (the color of blood, therefore of mortal humanity) which falls from her shoulders and forces her to cover her breasts with her hands; her gaze is turned upwards, where the heavens open and an angel descends, holding the palm of martyrdom with one hand and placing a crown of flowers on her head with the other, symbol of her mystical marriage with Christ . It is therefore a representation that sees her at the moment of passage to eternal life, similar to a penitent Magdalene in mystical adoration, who offers herself to Christ without any human recognition. The chromatic choices stand out in the painting, which against a dark and gloomy background bring out the red of the open sky and of the mantle, and the whiteness of the flesh, both of the woman and of the angel. The canvas, already restored and relined, is presented in a worked frame from the late 19th century, with some defects.

Oil painting on canvas. Northern Italian school of the 18th century. According to the taste of the 18th century, the proposed landscape is dominated by the remains of an ancient temple, vestiges of past glories. All around there is a countryside with a stream, but fading in the distance towards the blue peaks of a mountain range. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Northern Italian school of the 17th-18th centuries. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame.

Oil painting on canvas. A delicate composition of flowers is placed inside a sort of wooden cradle, with mushrooms and fruit on the ground; the background is external, but poorly defined by various stains. The work, on the first canvas, is also presented in a beautiful frame from the early 18th century, in lime wood carved with a leafy wreath held together by ribbons, and gilded with gouache.