Modern Painting Copy from Giovanni Giani The Morning of the Roses - The Morning of the Roses

Portrait of an Officer

Oil on canvas. Signed lower right. Giuseppe Amisani established himself as a portraitist of famous and high-ranking figures. Considered late Impressionist, his painting was influenced by the Belle Époque, which led him to use vibrant colors and rapid brushstrokes, yet always with an eye for elegance. The sitter portrayed here is a high-ranking officer, seated, albeit with a very straight and military stance, in a luxuriously furnished living room. The work is framed in period style.

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.

Christ the Worker ca. 1950

Oil on canvas. Signed lower right F. Venzo SJ (Societas Jesu, the motto of the Jesuits). This is a work by the Jesuit friar Mario Venzo, a Venetian painter who, after painting during his bohemian youth in Paris, devoted himself to monastic life in 1940, while continuing to paint. This work depicts a young worker in the foreground, inside a modern artisan's workshop, his head surrounded by light: this is likely a modern projection of the young Jesus at work in his father's workshop. The style of the work harks back to Venzo's pictorial period before 1953, the year after which his work became more vibrant with bright, vivid colors and a more stylized figure, while still often focusing on sacred subjects. The work is presented in a frame.

Oil on canvas. Signed lower right "J. Dupont da Velzquez". This is a copy of Diego Velazquez's famous masterpiece, painted around 1657 and housed at the Prado Museum. Until the mid-20th century, the painting was titled "The Tapestry Factory of Santa Isabel in Madrid": only in 1948 did studies by art historian and critic Diego Angulo Íñiguez identify a connection between the painting and the ancient Greek myth of Arachne. In the foreground, several spinners work in a bare, dimly lit room, with a soft light reflected from the background. Five women are depicted: on the left, in the dim light, the eldest spinner operates the reel; in front of her, on the right, in full light, a young girl is collecting thread on the reel; They are respectively the representations of Athena, still hidden under false guise, and the human Arachne, during their contest. The other three women are merely surrounding elements; the central one is merely a static silhouette. In the background, central and illuminated by a powerful beam of light emerging from the left, and enlivened by the bright colors of the tapestry and the robes, is the scene of the goddess's revelation to the woman. Compared to the original, this copy, while faithful in the figures and details depicted, is painted with more nuanced brushstrokes and less defined outlines, as well as less vibrant colors. The work is presented in a frame.

Portrait of a Girl, 1940

Oil on canvas. Signed and dated lower left. Attilio Corsetti was primarily a landscape painter, dedicating several views of Liguria, but he also painted several portraits. He adhered to the "Novecento" movement, which expressed a reaction to the avant-garde in favor of a return to tradition. The work is presented in a contemporary wooden frame.

Copy from G. Antonio Canal

Oil on canvas. A beautiful twentieth-century copy of Canaletto's work, created around 1736. The painting is in a private collection but is known for its printed reproductions, particularly in Visentini's series of etchings from 1742. The view depicts the Venetian town of the same name, with the church of San Salvador on the left and the Scuola Grande di San Teodoro in the center. Numerous figures, elegant gentlemen strolling, commoners, and artisans intent on their work, enliven the scene. The work, much larger than the original, has a striking decorative and scenographic impact. It is presented in a period frame.

Gouache on cardboard. The view of the Bay of Naples at night, illuminated by the erupting Vesuvius volcano, is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Tempera on cardboard. The broad view spans a harbor in a large gulf, likely that of Naples; seen from the heights of the hills behind, it features two popular figures ascending a wide path in the foreground. The painting is part of a large series of landscape paintings for tourism. Presented in a contemporary frame.

Gouache on cardboard. The view of the picturesque grotto on the island of Capri is part of a large production for tourism, due to the evocative beauty of the location. The work is presented in a period frame.

Sledding on the Snow

Tempera on cardboard. Signed lower left. Russian artist Egorov has made a name for himself with his views of the Russian winter countryside, blanketed in snow and often animated by horse-drawn sleighs carrying villagers. The work is framed.

Tempera on cardboard. Wide view of a valley crossed by a Roman aqueduct spanning a stream; mountain peaks in the background, while in the foreground a woman and her child walk along the path. The work is part of a large body of Italian landscapes, here likely from central Italy, created for tourism. In a contemporary frame.

Portrait of a Lady

Oil on canvas. Signed lower left. Celada loved to paint women, both in portraiture and in his figure studies, proposing a firm, classically feminine body, both in its form and in its references to the painting of the past. His painting, whatever the subject—still lifes, portraits, figures—capable of capturing reality in time and space, in a manner that appears detached, analytical, and scientifically precise (colors, reflections, transparencies), yet conveying—rather than total unreality—a great narrative pathos. The portrait of a woman presented here reveals Celada's ability to portray the subject with an almost photographic realism, yet surrounding her with an aura of surrealism, thanks to the monochromatic background devoid of any reference to the surrounding reality. The painting shows signs of previous restoration due to slight tears. Period frame.