The treasurer

Drawing, pencil on paper. In the bottom right of the figure is this signature apocryphal Vincenzo Gemito, with the date 1916 and the title. Good quality, the anonymous author fails to make effective expressive gaze oblique, borne of greed, which connects to the title given to the work. Presented in the frame of view.

The face of the prelate

Drawing, pencil on paper. In the bottom right of the figure is this signature apocryphal Vincenzo Gemito. In the lower right corner there is also the date of execution, January 7, 1916. In the frame of view.

The face of the prelate

Drawing, pencil on paper. In the bottom right of the figure is this signature apocryphal Vincenzo Gemito., with date badly readable. Although of good quality, does not appear consistent with the production of Groan. Presented in the frame of view.

Still Life with Flowers, Oil on Canvas, Flemish School 18th Century

Oil on canvas attached to board. Flemish school. The floral composition was painted looking to models from Mid 17th century with a subsequent execution technique. Already restored and presented with a ancient taste frame from late 19th century.

Still Life with Flowers, Oil on Canvas, Flemish School 18th Century

Oil on canvas attached to board. Flemish school. Floral arrangment painted looking at models from mid 17th century with a subsequent execution technique. Already restored and presented with an ancient taste frame from late 19th century.

Cesare Bertolotti

Study of male nude

Oil on cardboard. Signed in pencil on the back. The painter of the brescian Cesare Bertolotti, strongly attached to his city ed the source from where you moved for only short stays in the area, was essentially a landscape: nature was his constant source of inspiration as he made in his more solemn celebrations, using a brush is easy and wide and, reaching the delicate arrangements of tones in Spite of the fidelity to this subject, in its production there are also the portraits and frescoes. Work in contemporary frame.

The painter and the model

Oil on canvas. Signature not identified in the lower right. The scene is set in the studio of a painter, who sits thoughtfully with the palette in hand, while behind him, still in a languid pose, the model, resting a hand caressing on the head. Painted in frame style.

The painter at work

Oil on canvas. Signature not identified in the lower right. The scene is set in the studio of a painter who is painting a great sacred scene, a Madonna with Child and Saints; at his side, the young woman who works at the hook. Painted in frame style.

Interior of barn with cow and sheep

Oil on panel. On the back there is signature apocryphal G. Segantini. Through the brush strokes large and the margins indistinct, you can see the inside of a barn, made in colors dark and dominated by the ranges of the brown, the back of a cow and the head of a sheep, unique spots of lighter shade. Although of good quality and intense compositional skills, it is considered inspired, but not consistent with the production of the master of Italian divisionism.

Landscape with girl

Oil on canvas. Attributed to Pompeo Massani (1850-1920), the florentine painter that was primarily genre scenes with characters in costume, often in poses satirical. In this work, a young woman is portrayed languidly leaning against the fence that runs along a country path; next to her, lying on the floor, a pitcher. The woman fixed those who watch it, it really seems to be posing to be admired and depicted: a portrait in the open air! The painting presents different and significant loss of colour; needs restoration. The contemporary frame has small faults.

Watercolor painting by Gino Scalatelli

A glimpse of the venetian,The health

Watercolor on paper. A glimpse of the venetian, with a view of the church of the Salute seen from the Grand Canal. Gino Scalatelli, active between between the nineteenth and the twentieth century, and specialized in views of european cities, Paris, Venice, but especially of the English capital, London, who painted mainly in watercolor, a technique he preferred. In the frame.

Giacomo Maria Giovannini

St. Benedict put out the fire in the monastery

Etching. In the bottom right, the engraver's name, in the lower left, the name of Ludovico Carracci, the author of the drawing. The etching belongs to the series of 20 sheets made by Giovannini and published at Bologna in 1694, by Marc Antonio Fabbri with the title: "The Cloister of S. Michele in Bosco". The publication, containing the life of st Benedict painted between 1603 and 1604 in the cloister of the convent of S. Michele in Bosco at Bologna by Ludovico Carracci and some of his students of the Academy. In the frame.

Luigi Bisi, a follower of

Milan,Church of S. Maria near S. Celso

Watercolour and pen on cardboard. On the back there is hand written with attribution to Luigi Bisi, the name of the critical Gozzoli and the date 1982. Even though they are obvious references to the famous painter of the lombard, a specialist in the magnificent views of interiors of churches, we seem to exclude the paternity of this work, but rather attributed to a skilled follower. On the back there is also a label of provenance from important collection lombarda private. In the frame.

Giacomo Maria Giovannini

St. Benedict heals the demoniac

Etching. In the bottom right, the engraver's name, in the lower left, the name of Ludovico Carracci, the author of the drawing. The etching belongs to the series of 20 sheets made by Giovannini and published at Bologna in 1694, by Marc Antonio Fabbri with the title: "The Cloister of S. Michele in Bosco". The publication, containing the life of st Benedict painted between 1603 and 1604 in the cloister of the convent of S. Michele in Bosco at Bologna by Ludovico Carracci and some of his students of the Academy. The work presents the different stains of humidity. In the frame.

Pio Joris, sketch

Study for a procession

Oil on cardboard. Signed in the lower right. At the back of this label with the description. A painter, engraver and watercolourist roman, belonging to the circle of followers, the romans, Mariano Fortuny, is known for a style characterized by the mixture of realism and genuine pleasantness of touch, flickers and spirited. His pictorial production has ranged from paintings genre scene, also touching on the portrait. The proposed work is a small study for a procession, a theme he tackled in several works. THE painting is inserted in a passe-partout, without frame.

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.

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.

Male Nude

Pencil on paper. This is a study, probably a copy from the true of the sculptural work. Presented in a stylish setting.

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.

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.