Antique Painting Signed T. Colman Dibdin Old Square in Rouen 1886 - Old Square in Rouen, France, 1866

Oil on canvas. 19th-century French school. Portrait of a young woman whose clothing reveals her membership in a working-class, though not rural, class. The work is presented in a 19th-century frame.

Oil on panel. The view depicts a solitary church perched on a rocky outcrop overlooking a stream that plunges into a deep, dark gorge; the surrounding peaks, though lush with vegetation, are devoid of life and evoke adventurous scenes. The chromatic and lighting effects are dominated by earthy tones. The work is characterized by an overall academic-romantic tone, organized according to a scenographic style. The panel shows some small paint losses and signs of a previous frame.

Oil on canvas. The soldier portrayed here is recognizable as a Bersagliere (Italian Bersagliere) from the Risorgimento period by the characteristics of his uniform. Membership in the special Italian infantry corps is indicated first and foremost by his typical hat, known as a Moretto or Vaira, with its wide brim and a plume (called a plume) pinned to the back on the left. On the front is a cockade with the Italian tricolor, dating the period after 1848, and beneath it are two crossed carbines. The dark blue, almost black, uniform jacket, with a high collar, was in use by the force until the end of the 19th century, later replaced by a gray-green uniform. The soldier holds his rifle low, which he is loading: his proud and resolute gaze gazes into the distance, towards the enemy awaiting him; behind him, a dark, overcast sky underscores the gravity of the moment, although a few pinkish clouds at the bottom give rise to hope for a brighter future. The painting is presented in a late 19th-century frame.

Embroidery on silk. The large, elegant champagne-colored silk panel is richly embroidered with a naturalistic motif in the same color, composed of flowering chrysanthemums and bamboo, upon which multicolored birds delicately rest. The embroidery was applied to canvas and framed in a metal frame with legs, serving as a room divider.

Oil on panel. Central European School, 19th century. The painting, conceived as an overdoor, features a port scene set within a frame with wooden friezes carved into the panel itself. In the scene, several figures in Nordic style animate a coastal port overlooked by a castle; in the right foreground, a man in Oriental dress supervises the unloading of crates from a longboat on the shore, possibly a wealthy Oriental merchant importing goods from his homeland. The painting features several small paint losses.

Figure of a Scholar in Reading

Oil on panel. Signed lower right. The paintings of Franke, an artist of Polish origin who trained and lived in Munich, are characterized by genre scenes, eighteenth-century settings, and Oriental subjects. They are all characterized by lively movement and color, extremely lively scenes with figures frozen in curious, almost exaggerated poses. In this painting, the man, elegantly dressed with a frock coat and wig, leans inelegantly against the table, intent on reading, a pencil in his mouth. His brightly colored figure emerges from the shadowy surroundings—a study. The work is presented in an early 20th-century frame.

Oil on canvas. 19th-century French school. Portrait of a young woman, likely in mourning, given her black dress and serious, melancholic expression. The dark colors of her dress and hair blend into the background, from which her face, neck, and white lace shawl collar emerge, illuminating the portrait. The canvas has slight paint loss. It is presented in an early 20th-century frame.

Study of Heads

Pencil on paper. Signed lower right. Following an initial academic phase, Neapolitan painter Domenico Morelli, following his contact with the Macchiaioli and his friendship with Filippo and Giuseppe Palizzi, gradually adopted a freer style, especially in his use of color, creating his own signature style that harmoniously blends verism and late romanticism with neo-17th-century influences. An active patriot, he painted everything from historical subjects to genre scenes, dabbled in Orientalism, and then moved on to religious painting. Presented here are studies of two heads with evident Oriental features. Framed in period style.

Face ca. 1840

Oil on paper, mounted on canvas. At the bottom left is the inscription "Studies executed for a fresco in the Cathedral of Caserta by Marsigli." At the bottom right is No. 4. Filippo Marsigli, a well-known Neapolitan painter and fresco artist, contributed to the frescoes on the choir stalls in the apse of the new Cathedral of Caserta in 1842. The painting has a tear at the bottom left. In a period frame (losses).

Self-portrait

Oil on canvas. Signed on the left. Bergamo-born artist Giovanni Pezzotta established himself primarily as a portraitist, capable of infusing his subjects with expressive spontaneity, yet with a simple style. He created several self-portraits. The painting is presented in an early 20th-century guilloché frame.

Wall mirror in lacquered wood and mirrored glass. Good condition.

Oil on canvas. Central European School, mid-19th century. In the center of the scene, before a throne surmounted by a red velvet canopy and flanked by royal insignia, a king is settling a dispute between two groups of men, represented by several dignitaries in civilian clothes. Behind them, two different flags rise from the crowd; these are likely two political factions from the same city. The city's skyline in the background places the scene in a Central European context. The painting was applied in the early 20th century to plywood. It is presented in a regilded, late-19th-century frame.