Oil painting on canvas. Signed Lelli lower left. On the back this cartouche of the Art Gallery. Under a large tree with rich foliage, which occupies the entire upper half of the canvas, there is a well, where a shepherdess is drawing water; next to her, in the center of the scene, sitting in a languid attitude, a young shepherd looks at her with a loving eye. To the left, a pony is drinking. The whole scene is pervaded by the beautiful "summer" light that filters through the foliage, creating plays of light and shadows and enhancing the warm colors. he work is presented in a style frame.

France Late 19th century Early 20th century

Bronze statue depicting a female figure with a bunch of flowers. The statue rests on a circular base in gilded and chiseled bronze with plant motifs and supported by three feet with leafy volutes. The sculpture bears the signature of the incussa "Moreau" manufacture.

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century frame.

Gouache on paper. Neapolitan school of the nineteenth century. On the back at the bottom label with the title. The gouache is part of the typical Grand Tour production, which made the Gulf of Naples and the views of Vesuvius recurring and privileged subjects of nineteenth-century landscape painting. The pink shades of the sky that are reflected on the smoking volcano and the blues of the sky and the sea create a typically romantic atmosphere. The scene is animated by numerous figures of commoners and fishing boats. The work is presented in a late 19th century frame.

Oil painting on canvas. Neapolitan school of the nineteenth century. Typical example of Grand Tour painting, the painting offers a glimpse of the Gulf of Naples animated by numerous boats, of which in the foreground one of fishermen landing on the beach, where their wives and children await. In the background stands the smoking Vesuvius. The scene is lively for the vitality it expresses and for the colors, although the pink shades of the sky and Vesuvius recall the romantic note of the painting of the time. The canvas has small color drops. It is presented in a stylish frame.

Genre scene

Tapestry with genre scene set in the countryside: a young man defends himself with a spear from the assault of a group of stray dogs. The tapestry fabric has several horizontal cuts, especially in the upper half.

Oil on canvas. Eastern European School. Signed Szego G. below. These are two works to be proposed aligned because they depict a boy and a girl lying on the same lawn in a mirrored position, as if facing each other, probably intent on a love game: they wear gypsy clothes and have musical instruments with them - she a tambourine and him a violin - which refer to two characters of Slavic ethnicity, from the gypsy world. The whole is lively and serene. The two works are presented in styled frames.

Oil painting on canvas. Wide country landscape, with leafy trees, a path leading to the river and the small village in the distance. Traditional landscape for decorative purposes, typical of the 18th and early 19th century production. Subjected to restoration in the last century, the chassis was changed. Style frame.

Oil on canvas. North European school of the 19th century. A wide landscape close to steep reliefs, sees a wide river flowing in the valley, animated by barges and popular figures intent on various activities. The landscape and the pictorial typology, in particular the brown and dark color choices, refer to the countries of Northern Europe. The canvas shows signs of patches on the back. It is presented in a stylish frame.

Snowy Landscape with Figures 1872

Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.

Oil on canvas. Under the canvas a plate shows the data of the scene: the battle that took place on May 5, 1836 in San Sebastián, during the First Carlist War, is depicted, in which the Spanish troops opposed to the English ones commanded by General George de Lacy Evans. Carlist wars are the discontinuous but persistent civil wars that were fought in Spain during the nineteenth century, and which saw the counter-revolutionaries and Catholics who fought for the maintenance of tradition in the Spanish monarchy, against the liberalism promoted by the Queen Isabella II of Spain and all that it entailed. The British sided in favor of the liberals. The work, restored and relined, is presented in a coeval frame from the end of the 19th century.

The Friar and the Painter 1887

Oil on canvas. Signed and dated lower right. Genre scene set in a museum environment, where a young painter is trying her hand at reproducing a work, under the stern gaze of a friar. It is the work of Giulio Sommati di Mombello, a Turin artist from a noble family, who was artistically trained at the Albertina Academy in Turin, the city where he lived and worked, while exhibiting in all Italian cities. He painted genre scenes, portraits, urban views (particularly his markets in Turin), landscapes, and from the first decade of the 1900s, also numerous marinas, following his discovery and falling in love with the Ligurian Riviera. He had among his admirers the King (from whom he obtained the appointment as Knight of the Kingdom) Queen Margherita, Elisabetta di Sassonia Duchess of Genoa, the Promoter of Turin, Princes, municipal and national art galleries and art lovers scattered in many regions of 'Italy. He is considered "certainly a great poet and his poetry was expressed in the colors of nature (mother and teacher) that he portrayed on the canvas." The work is presented in a style frame.

Arabic coffee

Oil on the table. signed lower left. An orientalist subject who proposes the Arab coffee as a place also responsible for smoking the hookah, an activity in which two men are intent: the scene is set outdoors, in front of the vaulted entrance to the room, with the minaret in the background. The work is part of the most characteristic production of Fabio Fabbi, a Bolognese painter who, following his travels to the East starting from 1886, devoted himself almost exclusively to this pictorial genre, in which he was able to associate the themes of exoticism and travel with a quick and lively sketching. From the early 1900s, Fabbi also devoted himself to a career as an illustrator, illustrating numerous novels of classical literature, but preferring those of adventure, in particular the Salgarian novels, in which he was able to express his passion for exoticism. The proposed work is presented in a style frame.

Oil on canvas. Unsigned but pleasantly made, the large portrait shows a little girl placed outdoors, on a hillside path near a lake, surrounded by spring flowers; she is dressed in pink, holds a tangerine in one hand and a small parasol in the other that matches the socks and the orange lilies blooming along the path, around her neck she wears a necklace with large yellow beads. Despite the vivacity of the colors and the setting, the little girl is extremely serious and composed, almost sad. Restored and relined, the painting is presented in a period frame.

Oil painting on canvas. French school of the late 19th century. At the bottom left is the signature P. Detanger, unknown author. Intense portrait of a noblewoman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. French school of the late 19th century. At the bottom right there is the signature P. Detanger, unknown author. Intense portrait of a gentleman, severe and distinguished. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. Distinguished gentleman in a waistcoat with a watch chain and goggles, he is portrayed with a concentrated gaze, absorbed in his thoughts. The painting is presented in a styled frame.

Portrait of R. Linard 1887

Oil on canvas. At the top right there is the signature, the date and the dedication with the name of the friend portrayed ("a mon ami R. Linard"). Little is known about the author, known in Paris and cited as a pupil of Carolus Duran, one of the most popular painters in the city, a portraitist who distinguished himself for his realistic vigor, breadth of composition and richness of color. Also in this work, of excellent composition, an intense expressive force is found: the man's face emerges from the dark background (in which even the shoulders dressed in black are confused), with a penetrating gaze that looks straight ahead, flaunting security. Restored and relined, the painting is presented framed with a stretch of rope.

Oil on canvas. Portrait of an austere gentleman, in a meditative pose, a man of letters or a scholar depicted in his study, with books scattered on the desk behind him. Restored and relined, the painting is presented in a period frame.

Female portrait 1869

Oil painting on canvas. Signed and dated on the right. Little is known about this French artist, who was basically a portrait painter, as his known production all fall into this category of subject. The painting denotes expressive intensity and good pictorial ability. Restored and relined, it is presented in a period frame.