Painting Landscape of the Brembana Valley

Oil on canvas. French school of the second half of the 19th century. Suggestive and peaceful countryside landscape, with a path that winds through meadows and leafy trees. In the first canvas, the painting is presented in a late 19th century golden 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.

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.

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.

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 painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil on canvas. Central European school of the 19th century. The sadness and poverty of this young girl are evident in her gaze, in the signs of neglect in her loose and disheveled hair, in her shabby and tattered shawl; even the dark and gloomy background underlines the unhappiness of the life conditions depicted. The painting has been restored and relined.

Oil on canvas. Second half of the 19th century. Intense close-up portrait of a man, probably North African, which belongs to the artistic period defined as orientalist, that is, in that artistic production that was fascinated by the oriental world, following the numerous trips in vogue in the 19th century to the warm and exotic lands of the countries of Western Asia. The painting is presented in a period frame.

Interior with Female Figure

Oil on canvas. Signed lower right. In a soberly furnished room, an elderly woman sits reading, or perhaps meditating, with her book resting on the table under the window, while her dog sleeps curled up on a bench to the right of the woman. The scene is rich in finely depicted details; from the window, with the curtains raised to let in the light that illuminates the scene, we can glimpse figures walking on a road that leads to a fortified palace. The German painter August Friedrich Siegert established himself mainly for his portraits and genre scenes that represent moments of daily life with great attention to detail and a touch of realism. The painting is presented in a contemporary gilded frame from the second half of the 19th century.