Travel Clock - Europe 19th Century

Oil on canvas. Lively naturalistic composition of multicolored flowers in blue ceramic vases, which recall the sky color of the upper part of the background, which then fades into an earthy color in the lower part; on the left a parrot stands out for its unusual dark color. The painting has slight color losses, especially in the background. It is presented in a contemporary regilded frame.

Oil on canvas. Flemish school of the 19th century. The hilly landscape features on the left in the foreground a tall tree towering over the fields below, with a hunter intent on aiming at a prey hidden among its branches; not far away are some farmhouses, with the typical Nordic sloping roof, in front of which other figures can be glimpsed; in the background in the distance the blurred profile of a city emerges. On the frame is applied a plaque attributing to Anthony Van Borssom (1629 -1677), a Flemish landscape painter, to whose production the painting refers in some ways. The pictorial panel has been parqueted. The painting is presented in a gilded frame from the mid-1900s.

The Return from the Feast of the Madonna dell'Arco in Naples

Oil on canvas. This is a copy of a famous painting by the painter Louis Léopold Robert (1794 -1835), which was exhibited at the Salon de Paris in 1827 and bought by King Louis Philippe; it is currently preserved in the Louvre Museum. The painting depicts a joyful festive scene, rich in folklore with costumed characters dancing the tarantella and in the background the fantastic panorama of the city of Naples. Robert, a Swiss artist, stayed several times in Italy, where he found inspiration for the creation of many works and established himself as a romantic genre painter and Grand Tour landscape painter, whose subjects were highly appreciated and replicated. The painting of the "Return from the feast of the Madonna dell'Arco in Naples", was part of a project by Robert, who intended to paint four large canvases on the seasons, set in four different parts of Italy: this one represented Spring. The canvas presented here, unsigned, is nevertheless of high pictorial quality. Restored and relined, it is presented in a late 19th - early 20th century frame.

Oil on canvas. French school, 19th century. Monogram JP at the bottom left. In orientalist style, the painting portrays a young woman in oriental clothes, adorned with jewels, who is holding a parakeet in her hand. In Christian symbolism, this bird has a meaning of purity and innocence, while in more secular iconography it indicates elegance, communicative ability or, more generally, refers to exoticism. The painting is presented in a contemporary frame.

Oil on canvas. Unidentified signature lower right. This is a copy of the work, also a full-length one, by Domenico Morelli, called "Mater Purissima", created around 1880 and subject to numerous replicas and variations in the following decades. The work is presented in an early 20th-century frame.

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.

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.