Oil on canvas. Bloody scene depicting a puma assaulting two watchdogs. The dogs are free from their chains, but they are succumbing to the puma. Restored and relined, it requires cleaning. Revival gilded frame. 18th century.

The group of three compositions, natural

Tempera on paper applied to canvas. The compositions depict different birds and butterflies flying above flowers. Good condition, small spots of moisture. Presented in coeval frames. 18th 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.

Costal View of Naples Bay

Oil on canvas. Signed Att. Pratella at the bottom right. On the back there is a declaretion of belonging to the neapolitan artist. The subject is close to Pratella's production who preferred marine landscapes of the Naples Bay, his home town. It is part of a wide group of painting of uncertain attribution that for a stylistic quality that does not conform to the hand of Pratella. Good qualiti and pleasant atmosphere. The painting comes with frame.

Oil on canvas. Monograme at the bottom. On the back of the frame there is the name of the artist, an amatorial painter, with date, dedication to a friend and inspiration, a Madonna by Luca della Robbia. Fair conditions. It comes in a 19th century gilded frame.

Oil on canvas. Signed "Morbelli" at the bottom right. The scene shows a poor interior: standing turned three-quarters, a woman, framed in the dark compartment of the door behind her, approaches a small table on which there are three different flasks; light enters through a window that can be glimpsed on the left side, under which is a wood box. The interplay of the lines of the furniture and the rooms in the room, which converge from the two sides and from above towards the central figure, standing there in the dark but well defined by the contours, not so much by lines as by the play of light and shadow, is peculiar. The painting, by a very good hand, recalls the pictorial work of Angelo Morbelli (1853-1919), one of the great artists of Divisionism, who devoted himself to the representation of figures and scenes of a peasant and popular matrix, in the wake of verist literature. The work presented here is in excellent hand, but in our opinion it cannot be attributed to Angelo Morbelli, but rather to an anonymous Lombard author inspired by him, and we believe that the conformity to Morbelli's style and subjects probably led to his signature being added, to recall the authorship of at least his inspiration. The painting comes in a revival frame.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Oil on canvas. Northern Italy school. In the scene, four young girls dance, accompanied by different instruments: Venus, who is characterized by the crown on her head, beats on a triangle, the three Graces have a tambourine and castanets. In the lower centre, a boy accompanies them with the flute, while on the left, seated on a rock and leaning on his sword, the god Mars observes them. Restored and relined, the painting is presented in an antique gilded frame.

Nettuno, Sea View

Oil on panel. Signed and located bottom left. The seascape is a view from the village on the Roman coast: on the rocky beach, a small child figure plays on his knees. In a fast and effective style, the small painting reminds of the production of Baldomero Galofre, a Catalan artist who lived in Rome from 1870 to 1882, while studying at the Spanish Academy of Fine Arts. Presented in a frame from early 20th century.

Oil on canvas. Lombard school. The painting, already attributed to Sofonisba Anguissola and presented as so to Hampel Auctions on 26/06/2014, has all the pictorial characteristics that remind of the hand of the painter Sofonisba Anguissola (1530 ca.- 1625) from Cremona, who was an established and appreciated portait painter and worked for fourteen years in the Spanish court. The great expressive ability and the intensity of the gaze of the subjects, who reveal the "movements of the soul" are highlighted in all of her portraits. This painting was reframed in XIX century and is displayed in a gilded frame from XVIII century, on the back of which there is a small coeval label from the inventory of a collection.

Composition With Flowers And Fruit

Oil on canvas. It is a rich flower composition, presented in an embossed metal vase, with some fruit at its feet (figs, peaches, cherries). From the Tuscany area, the piece reminds of the work of Andrea Scacciati, leading figure for still life paintings in Florence in Late Baroque age. Scacciati was very loved by the Medici and the most famous Tuscan patrician families, he was the author of pieces of the highest stylistic quality, mostly depicting flower compositions characterized by wise painting abilities, enhanced by intense chromatic effects. The piece, restored and recanvased, is presented in a frame in style.

Oil on canvas. Italian School. The scene, full of figures, depicts the Holy Family walking towards Egypt, guided by an Angel and assisted by other angels above. The figures are inserted in a typical Italian landscape, they are depicted in a very earthly dimension: the Child, even with a halo, sleeps peacefully in His Mother's hands; Mary, who is wearing an unusual pilgrim's hat, met her husband's Joseph gaze, who is reassuring her with a sweet gesture - he is putting a hand on her knee-, while he is talking with the Angel who is showing them the way. Relined, the painting has some paint losses that need restoration. It is in an adapted frame, from the late '800 - early '900.

No Title

Mixed media on paper. Signed at the bottom right. An eclectic artist, not only painter but also sculptor and goldsmith, Enrico Scippa was born in Lecce on February 6, 1937. He began his artistic activity, still a university student. Twenty-year-old student leaves the Faculty of Economics to enroll in the Scuola Libera del Nudo in Rome, where he spends about ten years. In 1966 he moved to Brussels, then to The Hague and finally to Paris. In 1969 he returned to Italy, where from 1975 to 1977 he taught at the Liceo Artistico in Florence. He exhibits in numerous solo shows, group exhibitions and awards. in 1976, he made a series of bronze multiples and other materials, working simultaneously on the design of gold jewelry and precious stones: all works that led him to move frequently in Europe and the United States. On the occasion of the Holy Father’s visit to Lecce, he carried out, at the invitation of the Province, a gold cross that the Pontiff wore during the sacred functions. He has worked for some years with numerous architectural and communication firms. Enrico Scippa has exhibited in solo exhibitions both in Italy and in Europe and, in the United States, in New York. The painting comes with frame.

Oil on canvas. Intense and high quality, the painting depicts a monarch of the royal house of Scotland. Around the portrait, in a painted oval frame, there are some writings: the name Rober(t) appears at the top left, the title Rex at the bottom left and the abbreviation Scot, which stands for Scotorum, on the right; the writing at the top right is not identifiable, but it seems to be an acronym. The man portrayed wears a hat and a coat adorned with ermine fur, which is considered the noblest fur, reserved for royalty. He wears a golden pendant around his neck, which depicts two leaves with the fruit of the thistle, which, in heraldry, symbolizes Scotland. The writing and the pendant therefore refer to a Robert of Scotland, probably from the dynasty that reigned in the fourteenth century. The portrait was however executed in the romantic nineteenth-century period, probably using some ancient engravings for inspiration. Restored and relined, it is presented in a frame in style.

Tempera on paper, applied to hardboard. The biblical episode depicted, described in the book of Exodus, tells how young Moses, still at the court of the Pharaoh of Egypt, defends the seven young daughters of the priest Jethro, harassed by some Midianite shepherds while they draw water from the well. After his intervention, Moses will receive in marriage one of Jethro's daughters, Zipporah. This subject is very popular in art history, it is presented here with a particular attention to the portrait component, with a particular exacerbation of the expressive traits, both in the faces and the poses of the characters. The scene is very lively, with the figure of Moses in the centre, vigorous and combative, who divides the field in two: on his left the seven girls, each characterized by a different behaviour; on the right the importuning shepherds, who suffer the wrath of Moses. In the background, a landscape typical of 18th century productions, with an architectural ruin behind the well. The work is presented in a frame in style.

Sill Life With Grapes, Figs and Apples 1932

Oil on canvas board. Signature and date at the top right. The composition features autumn fruits, grapes and apples in the embossed metal fruit bowl, figs on the placemat. The Tuscan artist Luigi Bini was a painter, ceramist and sculptor, who did not feel bound to traditional techniques but loved to experiment with new ones. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera in order to achieve lively and soft chromatic transitions through broad brush strokes. The painting comes in a contemporary frame.

Landscape

Oil on board. Signature and date at the bottom left. On the back there is a stamp of "Domenico De Bernardi-Besozzo" and authenticity. De Bernardi's painting is part of the 19th and 20th century Lombard landscape tradition. He always lived in Besozzo, his birthplace in the province of Varese, but travelled extensively in and out of Italy, gathering impressions and searching for new landscapes to revive them in his work. In particular, he gained new inspiration from a trip to Libya in the 1930s, from which he returned with a more lively and Mediterranean palette. Landscape painting was his favourite genre, but he was also often attracted to 'still life' with equally significant results. The small landscape presented here is a view of hills with higher peaks in the background, perhaps the artist's native pre-Alpine areas; a small village fills the centre of the scene, in which the widespread fences of the crops stand out in particular. The painting comes in a coeval frame.

Gondole in Venice

Oil on plywood. Signed at the bottom right. Glimpse of a venetian canal with a gondola leaving the pier. Paoletti was born in a venetian family of artist. He moved to Milan where followed his carrer as painter and illustrator. The Venetian theme remained a recurring theme in his painting: maintaining the link with Venetian vedutista painting of the late 19th century, Paoletti translated the views of his city into forms of colour and light. Coeval frame.

Oil on canvas. The large scene is set at the entrance of a village near a stop for horses: numerous horsemen are standing with their animals, which are looked after by the servants and the peasants who fill the manger with hay; one of the servants, on the right, lets the animals drink in the nearby stream. In the background, the houses of the village arranged along the river, which then flows into the hilly landscape on the right. It probably is a piece by a Flemish author working in Lombardy. Some references to clothing and construction certainly indicate the Northern European contamination, while other details indicate it was realized in a Lombard location. The painting comes from a prestigious historical residence of a Lombard noble family Still on the first canvas, it has some cuts in the lower band. It is presented in a thin coeval frame.