Antique Painting Virgin Mary with Jesus Child Oil on Canvas XIX Centur

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.

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. 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.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

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 on panel. Northern European school of the late 19th century. In the composition inside a shed, hunted game lies on a level; on the left the muzzle of the hunting dog appears but is turned towards a nest full of chirping birds, located above the shaft of the carriage seen on the right. The painting is presented in a period frame.

Oil on copper. The saint, leaning on a stick, dressed in a brown-gray habit tied at the waist with a rosary of large wooden seeds, is on the seashore and looks towards the angels who are flying above, carrying a coat of arms with the word Charitas. According to tradition, he received this vision while praying, which offered him the shield with the words "This will be the coat of arms of your Order". Founder of the Order of Minims, he is the patron saint of Calabria and of numerous maritime cities in Southern Italy, as well as the patron saint of Seafarers, because legend has it that he performed the miracle of having calmed a storm, saving the boats. The small painting is presented in a period frame.

Oil on canvas. Flemish school of the early 19th century. The scene, set in the shabby and spartan environment of an inn, features two card players using a barrel as a support surface, watched by two others, while they drink their mug of wine and smoke. The innkeeper, with his back to the right, is leaving the room. The scene is lively and amusing, with rather caricatural characters. On the first canvas, the painting is presented in a late 19th century gilded frame.

Gouache on cardboard. Accompanied by a Finarte authentication from 1982, which defines it as "Marco Ricci school". The landscape features a wide valley nestled between mountain peaks and inhabited by a village, with the river in the foreground, on whose bank some characters are engaged in conversation. The colors are soft and bright. The work is presented in a period frame.

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. 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.