Antique Painting with Sea Landscape Oil on Canvas XIX Century

The Announcement of Defeat at Waterloo

Oil painting on canvas. French school of the 19th century. The scene, set in the poor bedroom of an elderly war veteran, who is crying in his bed, sees his family telling him the sad news of the defeat at Waterloo, as can be deduced from the sheet of newspaper in the woman's hands, on which the name of the historic location where Napoleon Bonaparte was definitively defeated. The canvas shows signs of previous restorations, in particular the patch corresponding to the female figure is clearly visible. It is presented in an early 20th century setting.

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.

Chromolithography on paper, enriched by silver metal applications that define the halos of the Virgin and Child. The oval lithograph is also placed in a display case which is also exquisitely enriched with silver and gilded metal inserts, which define further frames with purely floral motif decorations. The representation presents the Madonna holding the rosary crown in her hand and the Baby Jesus in her arms, flanked on the sides by two saints of the Dominican order. The further frame with glass is made of wood with golden carvings.

Oil on wooden board. The painting pictorially reproduces the famous sculpture by Michelangelo, the Pietà of San Pietro or Pietà Vaticana. The composition of the figures is quite faithful to the reference work, but, as well as being painted in colour, it is placed in an open-air setting that refers to Renaissance painting, with the hill of Calvary emerging in shadow on the left. A coat of arms is painted at the bottom left, evoking a noble patronage. The work is presented in a period frame. It has several spots and small drops of color.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Oil painting on canvas. The biblical scene depicts the Holy Family with Mary sitting on the donkey, newborn Jesus in her arms and Joseph pulling the animal, as they flee from Nazareth, headed for Egypt, to escape Herod's persecution. Some little angels hover above them. The gazes of the angels, Joseph and Mary tenderly converge on the Child. In the background a Nordic landscape. Restored and relined, the painting is presented in a period 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.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

Ballerina 1896

Mixed media on cardboard. Signed dated lower right. Adolfo Magrini was a multifaceted artist: painter, illustrator, engraver, set designer, after an initial production influenced by the romantic painting of Palizzi and Morelli, he was contaminated by Central European influences, becoming more angular. This youthful work is still influenced by the Neapolitan artists with whom he trained. The painting is presented in a frame from the first half of the 20th century. Has some color damage.

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.