Antique Painting Signed Lorenzo Delleani Oil on Canvas 1860 ca. - Crouching Nude Figure 1860 ca.

Stable interior

Oil painting on canvas. Signed lower left. The work was previously acquired at the Sotheby's auction in Milan on 10/12/2007. It was exhibited in 1991 in the exhibition "Giovanni Sottocornola. Images from a collection" held in Milan at the Silbernagl Gallery. After an initial pictorial phase dedicated to portraits and still lifes, in the 1880s Giovanni Sottocornola approached social themes, which were becoming the favorite subjects of young Lombard painters attentive to the poorest aspects of society, linked to the adoption of original artistic techniques. Sottocornola embraced the practice of pointillist painting, of which he wrote in 1895 "For now it is certain, I am convinced that there is no other painting more capable of conveying certain sensations than this one". However, this type of painting remained entirely focused on light, on its uncertain tonal vibrations, as happens in the Interior of a stable, created towards the end of the 1980s, where the plays of light and shadow play and create the effects visual in the brushstrokes of color played on a few chromatic ranges, those of browns, expressed in a wide variety of shades. The work is presented in a period frame.

Oil on canvas. 19th-century Northern European school. Evocative and choreographic view of a forest with a stream flowing through it in the autumn colors. The painting was relined in the late 19th century; it still has several paint losses. It is presented in a frame contemporary with the relining.

Portrait of a Woman in a Red Dress

Oil on canvas. The work features a half-length close-up of a female figure, corresponding to the red-haired model repeatedly painted by Jean-Jacques Henner, the French painter to whom a plaque on the frame attributes the work. Indeed, the pictorial style fully reflects that of the French painter, who established himself as a portraitist in Paris in the second half of the 19th century. The painting is presented in a frame contemporary with the teal, as is the metal plaque attributing it.

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.

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.

Drunk Baccus

Oil on canvas. Signed lower right. The god is depicted standing on the scene, clad only in a cloth around his loins and by ivy leaves placed on his hips and head, while holding a chalice in one hand; his gaze is vacant and dazed. Behind him, a semi-reclining putto plays with ivy. All around are white clouds, just as the ground is white, with flashes of blue sky and a green bush creating the only contrasts. On the back of the work is the label 'Mario Galli Collezione d'Arte', with cataloguing number 64 and the artist's autograph inscription. The work well represents the painting of this artist, who was born in Modena but trained artistically first in Rome and then in Florence, where he spent most of his life. His rich production initially proposed mainly historical subjects, but then turned to portraits and finally to landscapes. His uniqueness can be recognised in his ability to range from historical subjects, often placed in settings taken from ancient Pompeii, to the Macchiaioli-style naturalism of his second period, in which Muzzioli sought a significant perception of atmosphere and light in subjects inspired by the rural Tuscan environment, often set in antiquity. In this work, a portrait of a mythological character, the artist's luministic intent strongly transpires, the search for the effect of light playing on the naked bodies of the god and the putto, then fading into the background. The Art Gallery label leads back to the Florentine Mario Galli (1877 -1946), a sculptor who was also an important collector of works especially by Macchiaioli. The work shows an important crack and has been retouched. It is presented in a stylish frame.

View of Corfu with a Small Church and a Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Glimpse of Corfu with Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Female Portrait

Oil on canvas. Signed on the right, halfway up the canvas. It is the portrait of a woman in mourning, a young widow, as can be deduced not only from her black dress, but rather from her headdress and especially from the cameo with a male portrait, which she wears hanging from her neck. Achille Zo was a French artist (from Bayonne, a town in the Pyrenees that was culturally influenced by the Basque Country), who despite having repeatedly stayed in Paris and Bordeaux, where he trained artistically, then made several trips to Spain, both to Madrid (in 1856) and to Andalusia (1860), producing for several years works with historical subjects or Spanish genre scenes. At the end of the 1860s, he turned instead to Orientalism. There are also several portraits in his production. The painting proposed here, on the first canvas, is presented in a beautiful contemporary frame from the second half of the 19th century.

Ludovico il Moro's farewell to his wife..

Mixed media (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. Ludovico Maria Sforza cries at the tomb of his young wife Beatrice d'Este (1475 -1497); around him the friars of Santa Maria delle Grazie and on his left Bramante and Leonardo. On the short side of the marble canopy of the tomb there is the Sforza coat of arms, with two snakes and two eagles. Il Moro was profoundly shaken by the early death in childbirth of his very young wife Beatrice, his companion in his private but also political life, as well as his husband's, a patron of the artistic geniuses of their court, such as Leonardo da Vinci. and Bramante, authors of many pictorial and architectural works of the Visconti-Sforza court. Various versions of this episode are known, especially from the nineteenth century, from that of 1815 by Giovanni Battista Cigola at the Pinacoteca Ambrosiana, to that of Alessandro Reati of around 1850. The painting is presented in a carved wooden frame from the late 19th century.

Oil painting on canvas. The painting offers a half-length portrait of a young man who, in deshabillé, is lighting his pipe by drawing fire with a stick from the candle placed in front of him, on the table where a sword is also placed: perhaps it is a young knight in a moment of rest. It is precisely the candle, the only source of light in the scene, which suggests that the artist looked to the production of Georges De La Tour (1593 -1652), the French painter of the Caravaggio style who established himself for his "nocturnal" scenes, characterized by figures, usually low-ranking people rather than historical models or high-ranking figures, illuminated by the light of a candle, to create a special atmosphere of intimacy. The painting, restored and relined, is presented in a period frame.

Oil on canvas. 19th-century Northern European School. The painting is a reproduction of a 1662 work by Jan Siberechts (1627–1703), currently housed in the Royal Museums of Fine Arts in Brussels. The Flemish painter made a name for himself with his scenes of country and rural life, enlivened by peasant figures going about their daily activities, particularly robust female figures dressed in bright colors. These characteristics are also evident in this reproduction, where, in the farmyard of a farmhouse in the middle of the countryside, the entire family is busy with various activities: on the left, the man unloads bundles of wood from the cart, which a woman is carrying toward the house; on the right, the boy opens the stable to lead the flock of goats and sheep to pasture; in the center are three robust female figures, namely two women observing the third, who is busy... delousing a little girl! The colors of the figures' clothes stand out vividly and brightly against the brown and dark colors of the background elements (the house and the countryside), which are dominated by a sky that is also dark and thick with gray clouds. The painting is presented in a period gold frame.