19th CENTURY PAINTINGS
 

Male Portrait

Crayon and chalk on paper. Signed lower left. At the bottom right is the wording "from photography". The painter and poet from Portogruaro mainly devoted himself to sacred decorative painting for the churches of the Veneto and Piedmont. The portrait proposed here is presented in a coeval frame, which needs restoration due to multiple deficiencies.

Oil painting on canvas. Northern European school of the 19th century. Portrait of a curvy and composed lady, in sober house dress. Restored and relined, it is presented in a period frame.

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 painting on canvas. Of ancient taste, the landscape, verdant and with the village at the center, is animated in the center by figures of shepherds and a wayfarer on horseback who water the animals in the stream, conversing with another wayfarer passing over the bridge. Restored, it is presented in a coeval adapted frame.

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

Oil painting on canvas. This portrait of a woman dressed in a very abundant dress that hides her shapes and with her face covered by a black mask is curious: the visible portion of the face suggests a young and smiling face, the furtive attitude of one who tries to hide behind the heavy marquee, suggests a joke in progress, in theme with a party, a pleasure-loving moment. The painting is presented in a coeval frame.

Park

Watercolor on paper. Signed lower right. On the back there is a label from the Manzoni Art Gallery in Milan, with the data of the work. A leading exponent of 19th-century Lombard painting which was always linked to the love for the real, Pompeo Mariani was also called "the Italian impressionist", due to the influence in his works of French impressionism and those experiences, not only cultural, which constituted the era of the Belle Époque, which the artist lived between Milan, Bordighera, Nice and Montecarlo. In this small watercolor Mariani offers a glimpse of a city park, adorned with statues along the gate. The painting is presented in a period frame.

Portrait of a Maiden 1874

Oil painting on canvas. On the lower right there is the monogram LB, on the back the full signature and the date. Milanese by birth and training, Leonardo Bazzaro is considered a lively exponent of Lombard impressionism, dedicated to chromatic and luministic research. His very fruitful production of works was dedicated in the early years to Milanese interiors, but then attracted by open-air painting, he moved to landscape views and in particular he was attracted by the color of the Venetian lagoon, which led him to stay for a certain period in Chioggia. This face of a girl, a youthful work by the artist, only twenty-one years old, already highlights Bazzaro's ability to render color and light, which gives intensity to the absorbed expression of the young woman. The work is presented in a late 19th century frame.

Oil painting on canvas. The landscape offers a glimpse of the lake, overlooked by a poor village and a small fishing boat sailing. in the background tower two blued rocky peaks. There are some moisture spots. Oval in format, the painting is currently presented in a contemporary gilded rectangular frame.

Glimpse of Paestum

Gouache on cardboard. Signed lower right. The Neapolitan painter Antonio Coppola attended courses at the Institute of Fine Arts in Naples. He was a good temperer and executed with ease and with marine effect and views of Naples, with a production sought above all by foreigners and tourists. The foreshortening shows the countryside around the temple of Paestum, with a hay cart and its farmer in the foreground. It is presented in a gilded frame from the end of the 19th century.

Swiss Landscape 1857

Colored lithograph. Signed and dated at the bottom left. Jean-Pierre Thènot was a french painter, draftman, engravor and author of painting treatises. The lithograph shows a landscape view with high waterfalls on the right, probably the Staubbach Falls in the canton of Berne, and is animated by figures of shepherds with their flocks and couples on gallant walks; in the centre of the landscape is a chalet. The lithograph is part of a series of landscapes of Switzerland. The art piece comes in a coeval gilded frame.

Oil painting on canvas. In the suggestive style of impressionist taste. which plays on the effects of light and shadow and on nuanced chromatisms, this landscape offers large verdant plants, which occupy the scene on the bank of a river in which the vegetation is reflected; in its shadow, an indistinct figure strolling alone. The painting is presented in a coeval carved frame.

Glimpse Of Naples Bay

Oil on board. Signed at the bottom right. On the back there is a stamp of the art studio-workshop in Naples. The view of the Bay of Naples shows a landing place for small fishing boats, along a beach populated by numerous figures. Vesuvius rises in the background, its outline fading into a cloudy grey sky, which takes the sunlight away from the day, illuminated rather by the bustling bustle of people on the promenade. Very little is known about the Neapolitan artist Eduardo Scognamiglio: his work includes numerous views and vistas, mainly of Naples, but also popular genre scenes and portraits of popular figures. His production had a large following abroad, where he was known, appreciated and widely requested, earning him the English name of Edwardo. The painting comes in a revival frame.

Oil painting on canvas. Hens and chicks are scratching around in a garden, overflown by the ravenous little bird of prey. The scene is entirely painted in the shades of the brown colors of the earth, in which animals and plant elements are confused, and even the vegetation smokes in the cloudy sky. The work has marked cracking. In strip frame.

Oil on wooden board. The painting pictorially reproduces the famous sculpture by Michelangelo, the Pietà of San Pietro or Pietà Vaticana. The composition of the figures is quite faithful to the reference work, but, as well as being painted in colour, it is placed in an open-air setting that refers to Renaissance painting, with the hill of Calvary emerging in shadow on the left. A coat of arms is painted at the bottom left, evoking a noble patronage. The work is presented in a period frame. It has several spots and small drops of color.

Charcoal on paper. Unidentified signature with date to the right of the face. The name of the young woman portrayed, Teresina Rota di Valsecca, is mentioned on the back, with a further date. The work is presented in a coeval conception.

Oil painting on canvas. The painting offers in ancient style the glimpse of a landing place for fishing boats on the coast, near the village; on the shore in the foreground, figures of commoners waiting for the sailing ships. The color patina is also antiqued; the painting is presented in a 19th century frame.

Coastal Glimpse

Watercolor on paper. Signed lower right. Salomon Corrodi established himself as a landscape painter, creating a large production of views especially of the Roman countryside, but also of the Amalfi coast, Naples, the Ligurian Riviera, which was widely successful throughout Europe. He preferred the watercolor technique. The work is presented in a period frame.

View with Ruins

Watercolor on paper. Signed lower right. Salomon Corrodi established himself as a landscape painter, creating a large production of views especially of the Roman countryside, but also of the Amalfi coast, Naples, the Ligurian Riviera, which was widely successful throughout Europe. He preferred the watercolor technique. The painting has traces of breakage, to be restored. The work is presented in a period frame.