Modern Painting Signed V. Migliaro Watercolor on Paper XIX Century - Female Portrait

Oil on canvas. Signed at the bottom A. Greppi, but the signature is inconsistent given the period and cannot be attributed to the renowned painter. The scene draws on the 19th-century genre of popular realism, which featured genre scenes with figures in folk costumes, often engaged in folkloric or working poses, often in intimate family moments. In this case, a woman sitting on a meadow in the woods, busy with her sewing, caresses the head of the young man lying before her, perhaps her son. The painting is presented in a period frame.

Gouache on cardboard. View of the Bay of Naples with Mount Vesuvius erupting, while the fishermen's lives continue as usual! Framed in period style.

Gouache on cardboard. Wide view of the Bay of Naples, taken from the hill north of the city, with a commoner walking along the path. Framed in period style.

Portrait of Dorina

Oil on canvas mounted on a wooden panel. The artist's monogram appears on the left margin. A small label, likely a participation in an exhibition, bearing the title "Dorina" is attached to the back. Casimiro Ottone, a painter and decorator from Vigevano, created numerous figure studies, as well as still lifes and floral compositions. His attention to the figure is particularly evident in the dense sequence of intense female faces, which recall late Scapigliatura stylistic criteria. The work is presented in a mid-20th-century frame.

Copy from Paul Delaroche

Oil on canvas. This is a copy of the famous work by Paul Delaroche (1797-1856), which presents the story of baby Moses not as usually depicted, rescued from the waters, that is, at the moment of his discovery by the Pharaoh's daughter, but in the dramatic moment of the child's entrustment/abandonment to save him from the Pharaoh's decree, with his sister Miriam, who had been entrusted with the task, watching the basket hidden among the reeds on the shore. Delaroche's work, dated around 1853, is actually lost, but is known through engravings and preparatory studies. Some paint loss from a vertical scratch at the top. The painting is presented in a period gilded frame.

Female Portrait

Watercolor on paper. Signed lower left. Vincenzo Migliaro always found Naples, with its vibrant popular life, his main source of inspiration. He depicted various figures from Neapolitan everyday life, both in specific settings and as half-length portraits, as in this case. The work has some moisture stains on the paper. Framed in period style.

Mountain Landscape

Oil on panel. Signed lower right. Trained in the school of Tallone, Moretti Foggia was primarily a landscape painter, creating veristic views characterized by a very bright and textured palette, primarily depicting his native Ossola Valley or the Alpine peaks. Mountain huts and figures of shepherds with flocks are also recurring features in his landscapes.

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.

Inlay made with various woods. The inlay depicts the figure of a cellist in eighteenth-century dress. Francesco Ferrario was an accomplished cabinetmaker, influenced by the Neoclassical and Art Nouveau movements. Having trained in drawing at the Brera Academy, after collaborating with the finest artists of the time, he opened a workshop in Milan, first on Via Tenca, and then in 1927 on Corso Sempione. A label on the back of the work places it among the workshops of this latter location. The work is presented in a period frame. A version of this work appears in Bianca Tosatti's monograph, "I Ferrario maestri di tarsia," published in 2000.

Fantastic Vision with Figures

Oil on canvas. The signature of the painter Franco Rognoni appears at the bottom right, but the work has not been recognized as authentic by the artist's archive. It also well reflects Rognoni's pictorial style, characterized by figures, both men and houses drawn in black with a few precise strokes, and then filled with color that fades into the background. In the canvas, an elegant male figure appears, leaning impassively and indifferently on the flowered railing of a terrace overlooking a city; below him, at the bottom left, another face emerges (the same man?) wearing a military helmet and placed on a darker, less sunny city background: whether it is the man at war who recalls the time of peace or vice versa, the reference to the alternation in life of peace and war, of serenity and drama is evident. The work is presented in a frame.

The Little Girl and the Sheep

Oil on canvas. Signed lower right. Cesare Laurenti was a multifaceted artist, highly influential in the history of applied arts in Italy between the 19th and 20th centuries, ranging from easel painting to mural decoration, sculpture, illustration, architecture, engraving, monumental ceramics, restoration, technical experimentation, and the antiques trade. His early work was influenced by Domenico Morelli, whose pupil he was in Naples; some of his rural scenes, featuring shepherdesses and flocks, such as the one presented here, are inspired by a realist taste. His artistic career later shifted toward a more symbolist style, experimenting with various artistic techniques. The work is presented in a period frame.

Val Vogna

Oil on canvas. Signed lower right. The back features a label from the 1928 Venice Exhibition. Mountain view of the Val Vogna, a small, wild side valley of the Valsesia. Trained at the Brera Academy under Tallone, Milanese artist Lodovico Zambeletti successfully devoted himself to landscape subjects, for which he expressed a particular sensitivity, although he also painted genre and environmental figures and was an important portraitist. The painting has slight paint loss; it requires restoration. Framed.