Scene of an interior with female figures

Oil on canvas. The Italian school. Of fine workmanship, though not signed, the painting reflects a moment of the daily life dedicated to the sewing and the embroidery: the woman who occupies all of the left field, seated and relaxed in a moment of pause, follows the work of embroidery of two little girls, while of the background to the right, another young woman spins wool. On the back of the frame there is writing in pencil "Ferrari". The work is presented in a golden frame coeval.

The Spinners ( Arachne's Tale) Oil on Canvas 19th Century

Oil on cancas. Fair copy of the famous masterpiece of Diego Velaquez painted in 1657 and now preserved at the Museum of Prado. Untill mid-20th century the painting was entitled " The tapestry factory of Saint Isabel in Madrid"; just after 1948 Diego Angulo Iniguez's studies allowed to reconize a relationship between the painting and Arachne's ancient myth. In the foreground of the scene there are some spinners working in a room unadorned and poorly lit by a soffuse ligth reflected by the space behind. There are five women: on the left in dim light the oldest one thet is starting the wheel, in front of her on the rightthere is a youg gilr collecting the thread in the "aspa"; thei would be the representation of Athena, still hidden unde false features, and human Archade, during their race. the other three women are just simple surrounding, the middle one is just a static shape. In the background there is the scene of the goddess revealing herself to the woman, central and illuminated by a powerful light beam coming from the left, as well as by the bright colors of the tapestry and the cloths. The copy in question shows on the back a tag of inventory and shipping of Paris. The painting comes along with a coeval gilded frame.

The portrait of a Lady

Oil on canvas.. the Italian School. In the first canvas. It is presented in a contemporary frame in wood and gilded pastiglia.

Landscape attributable to Silvio Poma, Oil on Canvas, 19th Century

Fishermen's Island

Oil on canvas. Signed on the bottom right. Half view of the Maggiore lake (identified by the writing on the back) and of the smallest of the Borromean Islands. Panting that recalls to the prodution of Silvio Poma, painter from Bergamo's area that is considerated on of the main artists of the Lombard Realist Landscaping and is known for his glimpses of lombard lakes and lands. The original framework had already been retensionated and the canvas restored but need another restoring becouse of the color's fallings.

Landscape with Palace and Figure, Oil on Canvas 19th Century

Oil on canvas. On the back there is written " Fanny Decio Decio pinse": it's about Francesc (Fanny) Decio Decio (1809-1888), wife of Angelo Decio (her cusin that's why the double same lastname), jurist, officer of the Habsburg army and government delegate for the Asburgo of Lombardy and that in 1848 was protagonist of the historical Five Days of Milan. About the wife Fanny we know a little: there is a portrait of her, that come along with the one of her husband, kept inside the Recchi Ruscone Family Villa in Inzago, family with whichthe Decio were related; her name also appears in the " list of the contributor to the flag offere by the Milanese women to the brave Piedmontese Ligurian army". The painting represents a big noble palace in the middle of the hilly countryside; in the fron there is a paesant with her cow. It's in ggod conditions, alredy restored and presented with a frame from late 19th century.

Saint Catherine of Alexandria, Oil on Canvas 19th Century

oil on canvas. Romanti representation of the young virgin saint and martyr of christianity who live th the 1st sec b.C. an died because of refusing to merry the Roman governator of her city, Alexandria in Egypt, but above alle because she refused to recant her faith. Traditional iconography often portrays her- as here- with a sword, symbol of her martyrdom, and with an ecstatic attitude; this painting moves away from her normal representations: her half dressed clothing, along with her shameless pose that hides her nudity, but also the cross around her neck and her eyes turned to the sky from wher she drawns the force to face the martyrdom. The alredy restored painting is presented ina a coeval guilloché frame.

Diana and Nymphs Bathing, Oil on Canvas 19th Century

oil on canvas. Italian school. Group of young and beautiful girls half-dressed and overdressed with exotic necklace that are going to bath in a small lake in the woods, while on the left side a man is spying them hidden between the fronds. The scene recall the myth of Diana and Actaeon in a modern key with a representation of a female nude that call to mind an hare, brothel, seen by the artistic revolution of the 19th century as the main key of pleasure of men at the time: recurring is the representation through mythological and historical scene of group of women with board visions of their half-dressed bodies. Added to that there is the myth of the East, of the exotic: Diana and her nymphs are portrayed with oriental clothings and the symbol of the greek goddness, the halfmoon, thet doesn't clearly appear but is recalled by arabesque scenery. Ataeon, instead of being represented as a young and handsome hunter, is aso is presented as a middle-aged bourgeois with intentions of voyeur: it seems that he's choosing on girl. ON the back there are repeated stamps of on old art resale "Pietro Biasutti in Real Posta, Venice". The painting is presented in a style frame.

Sketch Giuseppe Puricelli 19th Century

Friar Paolo Sarpi Visited By the Council of Ten

Oil on canvas. Signed on the lower left corner. It is a preparatory sketch of the painting that today is preserved inside the Pinacoteca of Castello Sforzesco in Milan. The scene represented concerns an episode of the life of friar Paolo Sarpi (1552-1623), venetian religious of the the Order of Servants of Mary that was theologian, historian and scientist. He was a firm opponent of the monarchical centrality of the Cathholic Church and stood as defevder of the political prerogatives of the Republic of Venice, reason why he was attaked. The represented episode concerns the invastigation carried out by the Council of Ten, judical and police organ of the Venetian Republic, to shed light on the attack to Sarpi. Giuseppe Puricelli Guerra was born in Gallarate but he was artistically formed in Milan, studying at Brera's Academy whe he was sudent of Francesco hayez. He dedicated himself to gender framework, to historical subject and to watercolor. Teh painting comes alonge with coeval frame.

The Delivery of the Decalogue to Moses Painting 19th Century

The delivery of the Decalogue to Moses

Painting with the technique of "succo d'erba" with embroidery on canvas. The central scene represents the bibliccal episode of the delivery of the Tables of Law with the Decalogue to Moses from God on the Sinai Mount. All the frame is painted with elaborate floral and plants motifs, with winged animals; inside these motifs there are several heraldic coat of arms and the maxim "Fide Consilio Manu" repeted several times; the coat of arm and the maxim refer to the Sebregondi Family, noble family of Como.

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.

Family Portrait 19th Century

Oil on canvas. Portrait of a young family composed by father, mother and small child. The baby is in the centre of the painting, he almost resembles Baby Jesus for how he is posing and how he is dressed. He is holding his parent's hands, creating a chain of familiar intimacy. The painting belonged to a private collection of and important family in Milan. It has been restored and relined. It is presented in a gilded and decorated coeval frame.

Drawing by Stefano Colombino Indian Ink on Paper 19th Century

The player of the harp,1880

Indian ink on paper. Signed by Colombino and dated 30/12/1880 in the lower left corner. The pleasant drawing is accompanied by a small card with information on the artist, who is defined as a miniaturist. Stains due to humidity. The frame dates back to mid 20th century.

Grass Juice Painting Hunting Scene 19th Century

The great Hunting Scene

Grass juice technique. The painting depicts a deer hunt: in the forefront a dog is flushing out the animal from the woods, on the right there are hunters on horseback. Grass juice. The painting requires cleaning to resume colors due to the layer of dust.

Tribute to Napoleon Oil Painting 19th Century

Tempera on paper applied to canvas. The drawing depicts a tribute to Napoleone Bonaparte, who is surrounded by some officials to the right and dignitaries and nobles to the left. The scene is set on a wide terrace surrounded by a double colonnade decorated with friezes and statues that create a frame enclosing the conqueror. The terrace overlooks an indefinite and boundless landscape which clearly represents Napoleone's great expansion. Some stains and losses of color. 19th century.

Portrait of a Lady Oil Painting 19th Century

Oil painting on oak board. The dame is depicted during a moment of informal rest in her study where she deals with fine arts, as we can see from the book she is holding and the mandola on the couch. The red color of her dress and the garland of roses enclosing the painting behind her stand out. On the back of the painting there is an inventory paper label with an attributive inscription in French to: "Serrur, né au XVIII siècles, école francaise, peintre de genre et de portraits": it refers to Henry Auguste César Serrur (1794-1865) who painted many portraits of famous people. The label identifies also the portrayed dame as the Princesse des Ursins. Such name was usually used with reference to Marie Anne de La Trémoille (1642 – 1722), a French noblewoman who played a central role within the Spanish Royal Court during the first years of Philip V's reign. Therefore, it would not be a portrait made in person. The painting is presented in coeval frame. 19th century.

Portrait of a Man Painting Late 19th Century

Oil painting on cardboard presented in coeval frame. Late 19th century.

Venus Asleep with Cupid Painting 19th Century

Oil painting on canvas recalling the homonymous canvas by Andrea D'Antoni (1811-1868), a Neoclassical artist from Palermo attracted to Romantic subjects and atmospheres. The painting depicts Venus asleep; she is naked and languidly lying on the grass under a tree while a curious cupid is comparing his nudity with hers. In the background there is Venus' partner. The naturalistic background characterized by dark colors enhances the contrast with the light skin of the figures. The painting was made by an amateur, but it's pleasant. Already restored (there are some patches on the back).

Glimpse of Capri Painting Late 19th Century

Tempera on cardboard. Unidentified signature in the lower left corner (Candeliero ?). The indistinct outlines of the famous island occupy the center of the drawing. The painting depicts a woman in popular clothes standing on the top of a hill over the coast. The painting is presented in coeval gilded frame with some missing parts. Late 19th century.

Portrait of a Woman Painting Late 19th Century

Oil painting on canvas signed in the lower right corner. C. Marietti. The identity of the portrayed person is written on the back "Penna Giuseppina, zia della mamma" (Penna Giuseppina, mom's aunt). The painting is presented in coeval frame with missing parts. Late 19th century.

Portait of a Man Oil Painting Late 19th Century

Oil painting on canvas signed in the lower right corner. C. Marietti. The identity of the portrayed person is written on the back "Lo zio...De Matteis, zio della mamma" (Uncle...De Matteis, mom's uncle). The painting is presented in coeval frame with missing parts. Late 19th century.