Antique Tapestry Riviera Hotel Côte d'Azur Print on Paper XIX Century

Scene with Guards in the City, 1875

Oil on canvas. Signed and dated lower left. The English painter George Goodwin Kilburne specialized in genre scenes set in the life of the Victorian upper middle class, with hunting scenes, living room scenes, all characterized by elegance, by the meticulousness of details especially of the female figures. In 1875 Kilburne stayed a few months in Rome, and then traveled to other Italian and European cities. The scene depicted here, actually from 1875, seems to be set in Rome: at a guard post in the city, as the urban glimpse that can be seen from the open door clearly explains, some soldiers wearing the uniform of the Vatican guards are resting. The work is presented in a late 19th-early 20th century 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. 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 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).

The Ancient Baptistery of Gravedona

Pencil and watercolor on paper. Signed lower left. Of the same subject but with characters, there is a version on canvas by the Milanese artist, preserved in the civic Raccolta d'arte Museo dell'Ottocento of Villa Belgioioso Bonaparte, in Milan. Luigi Bisi specialized in interior views of churches in Lombardy, with a predilection for the Milan Cathedral. The work is presented in a frame.

Copper panels decorated with enamels. This is a 19th-century reproduction of the enamelled Cross of Paschal I (817-824), an important staurotheca in embossed and gilded copper, which contained within it minute fragments of the Cross of Christ, and which became part of the Treasure placed by Leo III (795-816) in the oratory called Sancta Sanctorum in the Lateran. The Cross is made up of five panels, arranged in the shape of a Latin cross, on which seven episodes from the life of Jesus are depicted with lively enamel figures. In the upper panel are the Annunciation and the Visitation of Mary; in the centre panel is the Birth of Jesus; on the left is the Flight into Egypt and on the right is the Adoration of the Magi; and finally in the lower arm is the Presentation of Jesus at the Temple and the Baptism of Jesus. The panels are composed on a wooden base and presented in a glass case frame.

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

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, applied on hardboard in the second half of the 1900s. The painting takes up the pictorial ways of the eighteenth century, with a decorative cut. In a peaceful landscape, with an architectural structure on the right and the green valley with the river opening on the left, two figures walk along the path, a woman with her bundle of clothes and the wayfarer with a saddlebag and a stick. The work is presented in a chronicle style.

Oil on canvas. This is a copy of the painting of the same name by Giulio Cesare Ferrari (1818-1899), created in 1863 and purchased a few years later by the Pinacoteca dell'Accademia in Bologna. The painting depicts a scene from Victor Hugo's novel "Notre-Dame de Paris": Esmeralda, a young gypsy who enchants with her beauty and dancing, is persecuted by the archdeacon Frollo because of his obsession and locked in the tower of the Parisian cathedral, where she is helped, however, by the hunchbacked bell-ringer Quasimodo. In the scene, the young woman is huddled in the narrow, dark cell accompanied by her inseparable goat. The work belongs to the historical-literary painting movement that developed in the 19th century alongside Romanticism and Realism, and is characterized by the depiction of scenes from history and literature, often with celebratory and commemorative intent. The copy proposed here, of good workmanship and datable shortly after the original, is presented in a mid-20th century style frame, contemporary with the restoration and relining of the work.

Oil on canvas. Central European school of the first half of the 19th century. The painting refers to a graphic by Johann Gottfried Haid (1704 -1767), a German engraver known for his mezzotint copies of works by great masters. The original work is probably attributable to Antonio Mercurio Amorosi (1660 -1738), known for his portraits of popular characters in the "childish" style. Our painting presents several small differences from the reference graphic. Still on the first canvas, it is presented in a mid-1900s frame.