Empire Frame with Engraving Walnut Italy 19th Century.

Oil on canvas. Of this suggestive and fascinating scene of a stormy sea, with ships at the mercy of the waves, there are different versions, inspired by the most important and well-known canvas, the one created by Francesco Guardi (1712-1793), of the same size and preserved at the Castello Sforzesco from Milan. This proposal is very close to a similar work from the Gnecchi collection in Milan, certainly inspired by the Guardesca production: it differs in small details (the color of the flag on the ship on the right, the inclinations of the masts of the ships on the left and in the center, the shape of the clouds), which suggest a good copy, made in the nineteenth century, in the wake of the interest and suggestion for the naturalistic theme and, in particular, for the power of Nature, which developed above all in Italy during the period of Romanticism. On the back of the frame there is a paper label with an inventory number and the initials C.G. (Gnecchi Collection?). On the first canvas, the painting has a very small tear on the right. It is presented in a late 19th century frame.

Oil painting on canvas. Portrait of a young bourgeois woman, with her head encircled by a garland of roses and the party dress, taken outdoors and turned three-quarters, with her head turned back to look at the painter. On the first canvas, the work has some small drops of color and a small hole. It is presented in a gilded frame from the end of the 19th century, adapted.

Oil on canvas. Italian school. With a romantic atmosphere, the landscape with the hill full of trees, the stream crossed by a bridge and the young villager carrying the amphora of water on her head, is surmounted by a sky mottled of different colors, with darker clouds that fade away into the pink of the dawning sky. On the first canvas, the painting shows small drops in colour. It is presented in a stylish frame.

Portrait of a Girl

Oil on canvas. Signed lower left. The Neapolitan artist Gustavo Nacciarone was trained at the Free School of the Teramo painter Giuseppe Bonolis, from whom he inherited the plastic strength of the figures, but soon joined the reform of the painting with a historical subject of the countryman made by Domenico Morelli, which proposed scenes of historical episodes rendered with a veristic language, both in the content, with the use of costumes and objects inspired by real models, as in the stylistic expression, through the naturalistic study of the relationship between light and color and thanks to the adoption of a brushstroke modern. In the same style, while continuing to create views taken from life or scenes borrowed from the repertoire of everyday life, Nacciarone also tried his hand at orientalist subjects, and from around 1880 he was also attracted by Japonism and finally by the neo-Pompeian subject. Gustavo Nacciarone was also a very skilled draftsman and illustrator for various printed periodicals specialized in figurative arts, and he also devoted himself to painting for sacred and decorative commissions. He participated in exhibitions throughout Italy, but it was above all in Naples that, through his relations with the most fashionable patrons and collectors of the city, he favored the diffusion of the painting of many artists of his time. The work presented here, a very realistic and expressive portrait of a girl of the common people, well expresses her painting with a broad brushstroke, opaque and earthy colors but with chiaroscuro effects and well-defined shadows. It is presented in a coeval frame, from the late 19th-early 20th century.

Venice, Glimpse of the lagoon

Watercolor on cardboard. Signed lower right. Evocative glimpse of the Venetian lagoon, with fishermen's boat in the foreground and the city skyline in the background. Natale Gavagnin, born in Venice and trained at the Venetian Academy, devoted himself mainly to the landscape, and above all to that of his city and the lagoon. He exhibited mainly at the exhibitions in Venice and Milan. The painting is presented in a stylish frame. The watercolor is in good condition, with gore of humidity on the passepartout.

Venice, Glimpse of the Lagoon

Watercolor on cardboard. Signed lower left. Evocative glimpse of the Venetian lagoon, with fishing boats in the foreground and the city skyline in the background. Natale Gavagnin, born in Venice and trained at the Venetian Academy, devoted himself mainly to the landscape, and above all to that of his city and the lagoon. He exhibited mainly at the exhibitions in Venice and Milan. The painting is presented in a stylish frame. The watercolor is in good condition, with gores of humidity on the passepartout.

Oil on cardboard. North-ItalIan school. The two small landscapes offer views of the countryside with the remains of ancient stone walls and wayfarers on the path that pass under the monumental arches. The atmosphere is romantic, imbued with pink colors. Although more landscape than monumental, the two squares are fully part of the production linked to the Grand Tour, the journey through Europe - and with the main stops in Italy! - that the young people of the European high aristocracy completed, upon completion of their university studies, to enrich their cultural background. This fashion favored a large production of small paintings of the places visited, in memory of the stage. The two paintings are presented in 19th century frames.

Oil on canvas. Signed Piatti F. (non identified artist) lower right. Portrait of a nineteenth-century bourgeois gentleman, portrayed in an unusual position, leaning against a crumbling wall against a pink background of clouds, to create an atmosphere of melancholy and romantic taste. The painting is presented in a gilded frame from the early 1900s.

Oil on canvas. The portrait of the gentlewoman, sober in black, is proposed in an unusual exterior, which sees her sitting on a bare boulder, with the background of pink peaks and blue sky, to give a romantic atmosphere. The painting is presented in a gilded frame from the early 1900s.

Oil on canvas. The portrait has some color drops at the top. It is presented in a coeval wooden frame decorated with gilded stucco, with lacks.

Oil on paper. The small painting presents a barren nocturnal landscape, with several buildings scattered over the hills, dark and without signs of life; in the foreground, however, there is a table still set and with leftovers of food, on the chair next to a guitar, signs of the party that preceded the night: it is a vanitas, or that sort of still life that uses symbolic elements alluding to theme of the transience of life. The small painting is presented in a beautiful coeval frame.