Oil on cardboard. Unidentified signature lower right. Landscape glimpse of a peasant countryside, with farmers approaching the wheat field, full of golden ears, while to the left of the path there is a shady spot, which leads to a fence. The painting is presented in a contemporary gilded frame, with small defects.

Oil on hardboard. Unidentifiable acronym at the bottom left. In English style, the painting presents a country landscape with a hunting dog sniffing out the scent, followed at a distance by the hunter. The painting is presented in a contemporary frame.

Oil painting on canvas. Central European school of the 18th century. A river landscape is proposed near a village, with a small bridge in the center that crosses the watercourse, and populated by numerous popular figures, with typically Northern European characteristics due to their fleshy features and cunning and curious expressions. They are engaged in everyday activities related to fishing: in the center a man exposes his catch to a couple, guaranteeing, through the gesture of his arm, its fresh origin; in front of him a child overturns a tub of fish and water snakes while another fisherman, further back, also sells his goods. Two other men, standing in the water, haul in their nets; A shepherdess passes over the bridge with her child and goat. w sitting in the foreground on the right, a woman observes the scene. Restored and relined, the painting is presented in a period 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.

Oil on Hardboard. On the reverse there is an inscription in pencil with the date "29 June 1931" and the signature Amos Campaioli. The large country landscape, with leafy trees and a pond, sees in the foreground a lady on horseback flanked by a man with his dogs. The painting is presented in a wooden frame, covered on the front with gilded stucco.

Landscape with Figures

Oil painting on canvas. Signed lower left. Achille Vertunni was born and trained artistically in Naples, but then moved to Rome where, in his mature age, his studio in Via Margutta was a point of reference for many Italian and foreign critics and artists (D'Annunzio, De Sanctis , Franz Listz, to name a few) and was frequented by the nobility and politicians of the time, figures of the Risorgimento and visitors of the "Grand Tour". His first themes were inspired by historical events, but he then dedicated himself to landscape which, from the seventies, became the almost exclusive subject of his paintings. Its sunsets in the Roman countryside and in the Pontine Marshes are characteristic, sometimes animated by butteri and herds of buffalo. This painting shows two figures in traditional Lazio clothing, a couple of farmers resting near a small votive chapel along the road; on the right the coastal landscape opens up along the Tiber, at the bottom of which the profile of Rome stands out, with the Dome of St. Peter and Castel Sant'Angelo. Above all, the typically romantic atmosphere of a sunset, with its play of soft, pink lights. The painting, relined, is presented in a period 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 painting on canvas. On the back there is a vintage cartouche with the writing in French "Academic landscape; The bath of the nymphs disturbed by satyrs" and attribution to Hippolyte Lebrun (French painter working in Italy during the first half of the 19th century). The large scene is framed, like a backdrop, from inside a rocky cave in the middle of a green and shady valley. A river flows in it to form pools of water, in which a group of nymphs bathes, disturbed by some satyrs, who chase them and threaten them. The scene actually has a very playful character, like a mischievous entertainment between the different characters. The figures, small compared to the landscape, are an added component, which enhances its character of serenity and pleasure; the reference to classical culture is in keeping with the period of neoclassicism. The painting shows traces of restoration. It is offered in a stylish frame.

Oil painting on canvas. The landscape, set in the mountains but with a view of the sea in the background, sees a figure of a commoner in the center and two on the sides, walking on the paths; some farmhouses are scattered on the green slopes. The painting presents several drops of color, especially the upper margin. It is presented in a stylish frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. Roman school of the 17th century. The landscape, large and airy, pervaded by a "classical", timeless atmosphere, fits into the classicizing current of ideal views taken from the Roman countryside, introduced to Rome with great success during the 17th century following the example of Carracci, Domenico, Albani and the French Poussin, Dughet, Lorrain, and continued into the following century with artists such as Andrea Locatelli. This type of landscape paintings aimed to exalt the principles of beauty, reason, order and measure typical of the classical world, to celebrate the value of history, the trust inherited from the ancients in the virtues of man and his possibilities. In the nature of these landscapes, which is not abandoned to chaos, but is composed, orderly, not disturbed by violent or disorderly elements, human figures are placed, dressed in the old style as in this painting, in which a couple dressed in classic tunics she converses amiably sitting (or rather, half-reclining almost as if they were on a triclinium) in the middle of a shady and green countryside, near a quiet river; in the distance you can glimpse the buildings of a city and your gaze is then lost in the orderly and peaceful continuity of the rolling hills of Lazio. The painting, restored and relined, is presented in a period frame.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in fact, two figures stand out in the foreground, a man who is fishing with a line and a net, and a woman who looks at him sitting on a rock overlooking on the water, anxious about the outcome of the fishing, which will presumably guarantee the couple's meal. The surrounding landscape is that of a rocky coastal stretch, in a sea inlet overlooking a town on the other shore; a boat sails in the sea, of another you can only see the flagpole behind the rock. Restored and relined, the painting is presented in a period frame, with several defects.

Landscape with Shepeherds and Ruins

Oil on wood. Signed lower right. Antonio Oberto, a post-impressionist painter from Pavia, dedicated himself to landscapes but also to the decorations of public buildings in his city. He mainly proposed views of Pavia and the Pavia countryside along the Ticino, depicted, through rapid brushstrokes, in a late nineteenth-century style. A large landscape is proposed here along the river, precisely the Ticino in its flat stretch, precisely the one that borders the city of Pavia; in the foreground, on the right the remains of neoclassical structures, on the left two shepherds with their flock. The work is presented in a period frame.

Oil on copper. Flemish school of the seventeenth century. The painting, attributed by oral tradition to Frans Francken the younger (1581 -1642), depicts a miraculous healing performed by Jesus: while he goes with his disciples, he meets on his way a sick man, probably with leprosy, a disease that involved isolation and banishment from the city; the man invokes Christ who performs the miracle and heals him. The painting places the event on the left edge of the scene, in the foreground, where the figures dressed according to the typical style of the times of Christ stand out for their bright colours; moreover, the landscape that fills the rest of the scene is decidedly Nordic, with a river full of water flowing in a countryside full of vegetation, and a city in the background under mountain peaks. The pictorial description of the vegetation is meticulous and precise, rich and well defined in the details: the broken trunk in the foreground, the fronds of the large tree behind the characters, the birds flying high in the sky, the small flowers on the shore, the nuances of the The water in which plants and clouds are reflected are painted with a pictorial refinement typical of Flemish painting, similar in style to that of the great Antwerp artist. The painting is presented in a repurposed antique frame.

Oil on canvas, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

Landscape with Figures

Oil painting on canvas. The large composition proposes a landscape with a large tree in the centre. to surmount with its sparse branches the countryside below, crossed by a stream and animated by various figures of commoners intent on activity or at rest; at the top right stands a fortress, which dominates the valley. Already attributed to Peruzzini from the Marches, the painting can certainly be traced back to his circle, due to the rapid and poorly aggregated pictorial strokes. Antonio Francesco specialized in landscape painting, undergoing the influence of Salvator Rosa and landscape painters such as Pietro Montanini and Pandolfo Reschi, and further influences also came to him from Nordic painters active in Italy, above all from Pieter Mulier known as il Tempesta. In his first works the originality of his painting can already be distinguished given a rapid drafting and an intense and brilliant chromatic timbre. The long artistic bond between Antonio Francesco Peruzzini and Alessandro Magnasco began in the early 1990s, following their meeting in Milan, where Peruzzini had settled; from this period onwards his painting seems to fall apart, through forms that become more dynamic and light, almost fantastic, to finally arrive at a style marked by an ever greater disintegration of the forms of nature and their movement. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.

Oil on canvas. Northern Italian School of the 18th century. The broad landscape shows in the centre a herdsman who has just passed with his cattle over the small bridge over the stream, which flows through the wooded countryside; in the background, again in the centre, a farmhouse and several country buildings. Restored and retouched, the painting is presented in a stylish frame.