Painting of a Scene with Wood Inlay - Cain and Abel

Pastel on paper, mounted on a wooden frame. Portrait of a young woman sporting both a distinctive hairstyle and jewelry, particularly the cameo mounted on a strap and worn on her head. The work is presented in a 19th-century gilded frame with contemporary glass.

Male Figure

Oil on panel. Signed lower right, with a dedication to the painter Attilio Simonetti and the date (September 1976). The Campanian painter Enrico Fiore trained in the school of Domenico Morelli, whose influence he remained committed to throughout his historical-romantic work, while also devoting himself to sacred painting and landscapes. This male figure, clad only in a cloth around his waist, is intense. With clenched fists and a defiant attitude, he gazes at a danger lurking in the darkness around him. A romantic hero, fearless and proud. The painting is presented in a period frame.

The Women of Cervara Rome

Oil on canvas. This high-quality painting is a replica of Hébert's 1856 work, exhibited at the Salon Carré in 1859 and at the Exposition Internationale de Champ de Mars in 1867. The work is currently on display at the Musée d'Orsay. The painting depicts three generations of women, symbolizing the three ages of life: childhood, youth, and old age. It depicts a little girl and two women walking under an archway to draw water. Hébert lived for several years in Cervara—an ancient village in the province of Rome, famous for its rock-carved figures—and in his work of folk subjects, he depicted the life and spirit of the villagers, in their everyday actions and their emotional feelings. The work presented here is framed in the same period.

Oil on oval panel. The painting reflects 18th-century pictorial styles: in a broad landscape with mountain peaks in the background, a river flows, flanked by houses; at the center of the scene, a stone bridge spans it, over which several figures walk, while other characters go about their daily tasks on the path or along the river itself. The painting is presented in a contemporary gilded wooden frame.

Wooded Landscape with River

Oil on canvas. Signed lower right. The painting is of considerable size, likely executed for a prestigious client. Eugenio Gignous established himself as a landscape painter, creating softly lit views and almost impressionistic atmospheres. The work is presented in a frame from the first half of the 20th century.

Shepherd with Sheep

Ink on paper. Signed lower left. Neapolitan artist Filippo Palizzi, also known as "the painter of animals" is considered a revitalizer of 19th-century Neapolitan painting. Abandoning academic painting, following contemporary French experiences, Palizzi devoted himself to life studies, especially humble subjects, such as small landscapes and animal paintings, creating works of intense realism yet imbued with an intimate poetic tone. He stood out above all for the meticulous execution of the details of his portrayed subjects. Herds with shepherds are a recurring theme in his work, as in this small drawing. The work is presented in a period frame.

Gathering

Watercolor on paper. Signed lower left. De Albertis devoted himself to the military-patriotic genre, producing a rich repertoire of battles, replicated in various variations, which gradually became his specialty. Later, he turned to watercolor, but military subjects, often featuring horses, continued to dominate his work. This watercolor, in fact, features two saddled but unridered horses, responding to the trumpet call—the rallying call—sounded by the rider at the head of the squadron, visible on the right. The work is presented in a frame.

Oil on canvas. The work, painted in the style of early 17th-century Spanish painting, is actually from the late 19th century. It depicts a noblewoman wearing a ruff, the stiff, decorative, pleated collar typical of both men's and women's clothing from the 16th and 17th centuries. The work has been previously restored and relined. It is presented in a mid-19th-century gilded frame, inserted into a larger 20th-century frame.

Mixed technique on paper. Initials AS at lower right. A bouquet of roses stands out against a blue background. The painting is presented in a contemporary ebonized frame, decorated with gilded carvings.

Oil on canvas. Signed and located on the lower left margin "Roma, Enrico Scifoni" The name of the sitter is cited at the lower left: "Signorina Maria Ciaffi". Scifoni was a Roman artist who was very active as a portraitist between 1870 and 1914. The young woman portrayed is dressed in a dress and hairstyle reminiscent of the fashions of the Empire period. The painting is presented in a 19th-century gilded frame, which requires restoration.

Oil on canvas. Trace of signature at the bottom. In a romantic vein, the painting depicts a small girl tenderly leaning on her large dog, with whom she exchanges a tender glance. The background is a garden, with a sky fading into the light of the distant sunset. The painting shows signs of previous restoration and relining. It is presented in an early 20th-century gilded frame.

Tempera on pith paper. Chinese, Canton, Qing dynasty, ca. 1860. A collection of twenty-eight paintings depicting Chinese courtiers, scholars, and merchants. Originally kept in an album, they are presented here in a beautiful frame decorated with embroidered floral fabrics. Pith paper is a thin, translucent material derived from the pith of the Tetrapanax papyrifer tree, or "pith plant," native to China and Taiwan. Pith paper entered painting to meet the growing demand for small, inexpensive, and easily transportable souvenirs following the massive growth of trade with China in the first quarter of the 19th century. Because many were sold in albums and thus protected from light, they retain their vibrant colors even today.