Antique Portraits Signed Cesare Ferreri Crayons on Paper XIX Century

Oil on panel. The painting harks back to 17th-century painting styles. The subject—the Virgin depicted bare-breasted, caught in the act of breastfeeding her Son—has always been widespread and a subject of devotion, as it emphasizes the human dimension and the strong bond between mother and child, even as Jesus' gaze directed toward the viewer reminds us that He came to save humanity. The painting is presented in a late 19th-century frame.

Oil on metal plaque. Delicate portrait of a child, presented in a contemporary embossed and gilded metal frame.

Oil on canvas. Flemish school of the 19th century. Looking at the genre painting of the previous centuries, the scene presents the rather dark interior with few surrounding elements of a tavern in which two popular characters sit, represented as caricatures: the empty glass on the table, the purple noses, the glances and the winking grimaces, the immoderate poses reveal the state of alteration of the two men, who are thus enjoying themselves in their misery. The work is presented in a period 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.

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.

Study for Vegetation

Pencil on paper. Signed lower right. Michetti, originally from Abruzzo, studied painting at the Academy of Fine Arts in Naples, where he developed his realistic and naturalistic style. But rural Abruzzo, with its still uncontaminated nature, was always his main source of inspiration. Here is a small study of country vegetation. Framed.

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 canvas mounted on panel (probably a portion of a larger painting). In a vast landscape with a glimpse of a village, a shepherdess leads her cows to pasture. The hues of the animals and the human figure blend with those of the land and the houses, beneath a sky pale with the fading light of sunset. The work is presented in a period frame.

Oil on canvas. Wooded landscape with a wide path traversed by various popular figures. The frame bears the attribution to Massimo D'Azeglio: the artist of this landscape undoubtedly drew inspiration from the style of the politician and patriot, who was also a painter and writer. The painting is presented in a period frame.

Gouache on paper. A typical landscape painting of the Grand Tour, intended to commemorate the formative journeys to Italy and Europe that were popular among young European aristocrats in the 18th and 19th centuries. Paper is often used as a base for these travel "postcards," as it is lighter and easier to carry. This painting depicts a glimpse of the Mediterranean countryside, with remains of classical antiquities. The work is presented in a contemporary gilded frame (restoration required due to damage and missing parts).

Crayons on cardboard. Elegant half-length figure of a woman seated in an armchair. The painting is presented in a contemporary gilded frame, which has minor losses and damage.