Madonna with Child

Oil painting on canvas. Of ancient taste, the faces of the two figures are delicate, whose play of glances emphasizes the tenderness of the relationship between mother and child. The painting is presented in a styled frame.

Achille Beltrame

View from Oltrona of Lake Varese

Oil on paper. Signed lower left. At the back, localization of the portrait landscape. A pupil of Hayez and Bertini at the Brera Academy in Milan, Achille Beltrame as a painter created hundreds of oil, watercolor, tempera and pencil paintings, portraying many landscapes of Lombard localities and valleys, but also producing historical subjects and scenes of Milanese life . His best known and most important production is, moreover, that as an illustrator, in particular for his collaboration with the Domenica del Corriere, which made his color plates the hallmark of the magazine. The small landscape is presented in a styled frame.

Luigi Rados

Coeval frame engraving of the early 19th century

Engraving. Made by the painter and engraver Luigi Rados, it depicts the Resurrection of Christ. The print has diffuse gore of humidity. It is proposed in a beautiful coeval frame.

Luigi Rados

Engraving in a coeval frame

Engraving. Made by Luigi Rados, a well-known Italian painter and engraver, from a painting depicting the evangelical scene of Jesus walking on the water and saving Peter when, trying to emulate Christ, he sinks into the lake. The engraving, which presents diffuse gores of humidity, is presented in a beautiful coeval frame.

Luigi Rados

Coeval frame engraving

Engraving. Made by the well-known Italian painter and engraver Luigi Rados, it depicts a scene from the Acts of the Apostles, in which Saint Paul preaches to the people. The print has diffuse gore of humidity. It is proposed in a beautiful coeval frame.

The Holy Family

Engraving from the end of the 19th century, from a painting by Raffaello Sanzio. It is presented in a beautiful coeval wooden frame, with an internal strip in wood-colored plaster.

Large Painting on Fabric

Vegetation with Parrot

Painted on fabric. It features a plant composition, with a central palm and a flying parrot. Of great scenographic effect, the painting belongs to the production that from the end of the 18th century rediscovered the naturalistic vein as a decorative subject, drawing inspiration from chinoiserie works, and which had Carlo Antonio Raineri and his son Vittorio among the greatest exponents. The painting shows tears and spots of humidity; it is probably cut in the lower part.

Large Painting on Fabric

Vegetation and Parrot

Painted on fabric. It features a plant composition, with a central palm and a flying parrot. Of great scenographic effect, the painting belongs to the production that from the end of the 18th century rediscovered the naturalistic vein as a decorative subject, drawing inspiration from chinoiserie works, and which had Carlo Antonio Raineri and his son Vittorio among the greatest exponents. The painting has tears and spots of humidity. It is mounted on a contemporary stick.

Portrait of a Child

Oil painting on canvas. Not signed. On the back generic attribution to Gerolamo Induno. Realistic depiction of a poor ragged boy who, sitting on the outside step of a house, eats his soup; the expressive rendering of the sadness and resignation of the child is intense, also underlined by the dull colors. Presented in a coeval golden frame, mounted inside another frame.

Inside of a Stable with Cow and Sheep, Oil on Board, 19th Century

Oil on board. Apocryphal signature of G.Segantini on the back. Through the wide brush strokers and the blurred esges, we can see inside a stable, painted with dark and brownish colors, the back of a cow and the head of a sheep, only ones light colored spots. Although the good quality and the strong composing skills, the painting can be inspired by the prodution of the master of the Italian Divisionism, but not coherent with it.

The Tragic Return Oil on Canvas Late 1800s

Oil on canvas. It probably depicts a tragic anti-Semitic event. On the right, a wounded soldier in Russian uniform is witnessing the dramatic scene of a slaughtered family while the rabbi is preying for them. The broken window and the upside down drawers make clear that the killers broke into the house. On the left of the mirror, there is a Jewish writing that may suggest the location. The word may be translated as 'Ciro' and may be referring to the areas of Georgia and Azerbaijan near the Kura (river flowing from Turkey to the Caspian Sea, known as 'Ciro' in 1800s). The painting, restored and relined, is presented in a frame of the 1800s.

The drawings of Giovanni Antonio Sasso

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Giovanni Boni Oil On Canvas 19th Century

Siege Scene

Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.

Celebrative Painting With Flowers Oil On Canvas Early '900

Oil on canvas. The painting celebrates the memory of a deceased person: it represents a tombstone with the name of the dead and the dates, laying on the bare ground in a desert landscape, faded with a sunset in the background, but surrounded by a garland of lively flowers. A white lily stands out from all, stretched out upwards, but with a broken stem, forcing the corolla to turn towards the ground: it is the "memento mori", the symbol of the transience of life. The beautiful painting is presented in a gilded coeval frame.

Portrait of a Young Lady

Pencil, charcoal and white lead on paper. Signed E. Bianchi on the left. The use of different pictorial pigments is very effective, creating a play of light and dark and well underlining the elements of the figure. The portrait is presented in a nineteenth-century wooden frame, embellished with leather inserts in the shape of leaves and flowers, with some small falls and shortcomings.

Portrait of a Girl with a Little Dog

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) And dated lower right. The use of different pictorial pigments is very effective, creating a play of light and dark and well underlining the elements of the figures. The portrait is presented in a nineteenth-century wooden frame, embellished with leather inserts in the shape of leaves and flowers, with some small falls and shortcomings.

Portrait of a Young Woman 1858

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) And dated lower right. The use of different pictorial pigments is very effective, creating a play of light and dark and well underlining the elements of the figure. The portrait is presented in a nineteenth-century wooden frame, embellished with leather inserts in the shape of leaves and flowers, with some small falls and shortcomings.

The Virgin of Seville (or The Holy Family)

19th century engraving

Engraving. This is a print from the famous painting by Murillo, entitled The Holy Family or even the Virgin of Seville, currently preserved in the Louvre Museum in Paris. The engraving was engraved by Carlo Cattaneo in Turin. It has several damp spots. It is presented in a frame from the early 1900s.

Scene with Figures by Mario Bettinelli 19th Century

Summer

Oil on plywood. It is signed on the bottom left corner; further signature and title on the rear of the painting. Mario Bettinelli was an artist born in Bergamo; he was well known as a portrayist and as a caricaturist. He portrayed important figures in a witty and humorous manner. A part of his work has allegorical subjects, he usually recurred to feminine figures. After WWII his focus shifted on lombard landscapes. The painting is presented in a coeval frame.

Portrait Of A Man Oil On Canvas 18th Century

Oil on canvas. Portrait of a gentleman at his writing desk; the award the man received stands out in the middle. It's a member of the Negri family, historical rich family from the Abbiategrasso area, living in Cassinetta di Lugagnano. There were writings on the right of the figure, subsequent to the portrait, with the name of the portrayed. The painting is resented in a coeval frame, gilded and treated.