Triptych Marble France XIX Century - France Second half of the 19th century

Oil on canvas. Tasty depiction of popular life with caricature-like figures: three full-length commoners are depicted on the street while they converse intensely with each other, exchanging confidences or... gossip! Unsigned, the painting requires restoration due to a tear at the bottom.

Oil on metal plaques. The miniatures present two portraits of Augusta of Bavaria (1788 -1851), Duchess of Leuchtenberg and Vice-Queen of Italy as consort of Viceroy Eugene de Beauharnais, stepson of Napoleon Bonaparte; although Milan was the capital of the kingdom, the couple loved to reside in the Royal Villa of Monza, where there are several spaces dedicated to the queen. The portraits are presented in ebonized wooden frames with gilded metal profiles.

Copy from David Teniers II

Oil on panel. The painting is a revised copy of the famous work by David Teniers the Younger (1610 -1690), executed between 1634 and 1640 and currently preserved at the Prado Museum in Madrid. The title of the lively scene refers to the so-called Twelfth Night, a celebration corresponding to the Epiphany, precisely twelve days after Christmas, which was the last night of celebrations, in which one could drink beyond one's limits, dedicate oneself to love, to partner and gender swapping, a sort of carnival, during which the King of Misrule (literally the king of Misrule) was elected, a ruler in reverse who imposed his laws, subverting rules and behaviors. This work, like many others by Teniers, had such success linked to the numerous commissions from royals and aristocrats during the 18th century, as to induce a large posthumous production of copyists, many of whom even signed with the artist's name. The painting presented here has several paint losses, to be remedied. It is in a late 19th century frame, adapted for size.

Oil on canvas. Northern Italian school of the 19th century. The landscape depicts a wide countryside that opens onto the Alpine mountain range, preceded by the gentler pre-Alpine hill slopes; on the central path, which runs straight and perpendicular to the reliefs, a commoner is passing with his mule. The atmosphere is that of the end of the day, with pink shades illuminating the snow-capped peak. A very similar subject can be found in the production of the circle of Carlo Canella (1800 -1879), the Veronese artist known above all for his city views. The work is presented in a late 19th-century frame.

Oil on canvas. Half-length portrait of an elderly peasant couple, she with her head covered by a red scarf, he with a traditional headdress; the two faces emerge from the dark background with dignified and serene expressions. The painting is presented in a contemporary frame.

Oil on panel. In the upper center, framed half-length, Mary presents her Son, blessing and holding the scroll of Scripture, to the three Saints standing in the lower portion of the panel. Above their heads, in Cyrillic, their names that identify them as Saint Nicholas in the center, Saint Helena and a third unidentified. Traces of previous restorations.

Medallions printed on copper plates. The eight medallions are from the series of medals of "Illustrious Italian Men". These eight in particular depict the profiles of eight illustrious men from the world of art and science: Antonio Allegri known as Correggio, Andrea Appiani, Benvenuto Cellini, Andrea Palladio, Scipione Maffei, Galileo Galilei, Francesco Guicciardini and Girolamo Vida. They are mounted on a cardboard panel covered in velvet and framed in a period frame.

Portrait of Lord Wood of Inchyra

Oil on canvas. On the back there is a cartouche with attribution and title of the work. Sir John Watson Gordon established himself as a portraitist, creating portraits of many illustrious English people in his life, and also becoming a court painter. The nobleman portrayed here belongs to the House of Wood of Inchyra, a town in Perthshire in Scotland. The painting is presented in a frame.

Oil on canvas. Unidentified signature on the lower right (Terzaghi?). The scene depicts Christopher Columbus arriving at the Convento de la Rabida in Andalusia accompanied by his son Diego. The navigator was welcomed in this Franciscan convent in 1490, after receiving the news that the Catholic Monarchs had rejected his request to launch an expedition to the Indies. With the intervention of the prior and confessor of Queen Isabella, Juan Pérez, Columbus obtained that his project be heard. The painting is presented in a late 19th century frame.

Italy, Mid XIX Century

Louis Philippe corner cabinet in walnut, curved front with paneled door flanked by turned half columns, onion-shaped feet, pierced three-shelf shelf. Italy, mid-19th century.

Oil on canvas. The wide, very bright and spacious countryside landscape, allowing the gaze to wander towards the distant blue peaks, features a flowing stream in the center, from which sheep and oxen drink; on the path to the left, in the foreground, a couple in classical clothing is walking. The canvas requires restoration and color consolidation, due to some color losses, mainly on the left. It is presented in a late 19th century style frame.

The large scene is set by the banks of a river, which flows near a village and is crossed by a small wooden bridge. On the banks, in the foreground, a woman washes clothes, a shepherd waters his cattle and a traveller observes the figures, resting leaning on his stick. Luminous and serene, the painting has a dramatic impact. Restored and retouched, it is presented in a period frame.