Antique Painting Lorenzo Delleani Oil on Hardboard 1889 - Interior of Stable, 1889

The Last Judgment

Oil painting on canvas. The work is probably the preparatory and presentation painting to the client of the fresco created by Moretti Larese for the vault of the church of Volpago del Montello (Treviso), dedicated to Santa Maria Maddalena. The Last Judgment describes Heaven on the clouds above, gathered around Christ sitting on the judge's throne. In the background the Trinitarian image is composed, with God the Father in flight and the dove of the Holy Spirit, among the choirs of angels and the elders of the Apocalypse. Christ the judge is flanked by his mother Mary, in the role of intercessor, and by the four evangelists who have in their hands the Gospels of which they are authors and alongside the traditional symbols. The saints of the Old Testament are lined up on the sides (David with the harp, Moses with the tablets of the law, John the Baptist with the processional cross) and the apostles Peter (with the keys) and Paul (with the sword of martyrdom). The terrace below is occupied by the other apostles (Andrew with the cross) and saints. The three Virtues of Faith, Hope and Charity, with their symbols, show the resurrected people the cross of Jesus' sacrifice. The angel with the top hat awakens the dead and shows them the judge. The archangel Michael, with his flaming sword and double-pan scales, decides the individual fate of the resurrected. Below, the elect (including mothers with their children) ascend to Heaven with the help of the angels. The damned instead end up in the flames of Hell. The painting presents evident traces of the underlying pencil drawing and, compared to the definitive fresco, some small differences in the postures of some figures and above all in the non-definitive colors. Moretti Largese was appreciated above all as a decorator of public and private buildings, but he also created some religious frescoes. The painting is presented in a late 19th century frame.

Landscape with Figures

Oil painting on canvas. Signed lower left. Achille Vertunni was born and trained artistically in Naples, but then moved to Rome where, in his mature age, his studio in Via Margutta was a point of reference for many Italian and foreign critics and artists (D'Annunzio, De Sanctis , Franz Listz, to name a few) and was frequented by the nobility and politicians of the time, figures of the Risorgimento and visitors of the "Grand Tour". His first themes were inspired by historical events, but he then dedicated himself to landscape which, from the seventies, became the almost exclusive subject of his paintings. Its sunsets in the Roman countryside and in the Pontine Marshes are characteristic, sometimes animated by butteri and herds of buffalo. This painting shows two figures in traditional Lazio clothing, a couple of farmers resting near a small votive chapel along the road; on the right the coastal landscape opens up along the Tiber, at the bottom of which the profile of Rome stands out, with the Dome of St. Peter and Castel Sant'Angelo. Above all, the typically romantic atmosphere of a sunset, with its play of soft, pink lights. The painting, relined, is presented in a period frame.

Oil painting on canvas. French school. At the bottom left are the signature and date written backwards; the signature is readable as H. Faillade. At the bottom right there is the Latin writing " Quando ex exilio redibit!!!"; (When he returns from exile!). This writing underlines the bond of the man portrayed with the young general depicted in the small picture that he holds in his hand, probably his relative and linked to the monarchy of Charles, the last sovereign of the Bourbon-France dynasty, absolutist and anti-liberal monarch, overthrown from the throne and fled in exile in 1830 during the July Revolution, known as the Second French Revolution. The painting is presented in a period frame.

Signed J.M de Medeiros

Oil painting on canvas. Along the right margin there is a dedication in Portuguese "Ill'.. Offerece Agradecide (with gratitude)", with the signature JM De Medeiros and the date 1875. The work can be traced back to the Brazilian painter De Medeiros, of whom he only knows that he taught at the Academy of Fine Arts in Rio de Janeiro in 1885. The painting presents the portrait of an elderly man, with a flowing beard, a serious and concentrated gaze on something distant, and dressed in a tunic and pallium, therefore evocative the figure of a thinker or philosopher of antiquity. The work has patches on the back. It is presented in a contemporary frame,

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.

Oil on wooden board. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Composed of woodblocked sheets, sewn together and partly colored, with matching figures and texts. The group consists of 23 booklets, of which two in three copies and one in four copies; another couple has the same cover but different contents. The booklets can be considered as "manga" of the nineteenth century: the word "manga" still today can designate many different productions, such as single cartoons, scattered drawings, more elaborate illustrations, comic strips, comic books, as well as animated drawings. Therefore, starting from the assumption that there is no "manga form" but different ways of conceiving objects and graphic forms all denominated with this word, the term manga can be attested in literary and essayistic use in Japan as early as the eighteenth century to indicate, as mentioned above, drawings and sketches. But it is from the first half of the nineteenth century that Katsushika Hokusai's 15 volumes of illustrations, studies, graphic entertainment and detailed bichromatic prints became established, thanks to the progressive publication, starting from 1814. If, on the other hand, we want to give the word the more specific meaning of “stories drawn in sequence”, then the debut must be placed in the second half of the nineteenth century, similarly to what happened in Europe and the United States for comics. The booklets are in good condition.

Oil painting on canvas. North European school of the 19th century. The romantic taste pervades this nocturnal landscape, illuminated by the light of the full moon, barely veiled by scattered thin clouds; on the country path, which runs alongside the torrential course of a river, two figures of wayfarers can be glimpsed, a child holding a woman's hand. The painting is presented in a gilded frame from the end of the 19th century.

Vase, Roman excavations, 1860

Oil painting on canvas. Signed and dated lower left. Further signature, date and title on the back. On the frame there is a stamp from an important private collection. The work proposes a composition of an amphora and a painted ceramic plate, surrounded on the right by roses. Milanese painter and decorator, Luigi Scrosati initially attended the Brera Academy, which he soon abandoned to devote himself to numerous trips abroad, in particular to Paris. Already from the beginning of his activity, in the 40s, he worked as a painter of still lifes strongly influenced by French examples, in particular from the Lyon school. Alongside the easel and watercolor production, dominated by the specialization of still life of flowers, Scrosati was very active as an interior decorator, often engaged in team work alongside architects and project managers, but always with considerable autonomy and a characteristic style , substantially eclectic and aimed at a reinterpretation of the styles of the past. The debut in this area, towards the end of 1842, consists of a cycle of frescoes in the residence of San Fiorano (LO) owned by Giorgio Guido Pallavicino Trivulzio, for which Scrosati decorated a Gothic room, a Rococo living room and a small entrance compartment. His frescoes can be found in numerous villas in and around Milan, works in which Scrosati refers to the styles of the past, re-proposing eighteenth-century suggestions, but also of the Baroque. The decorations in the Dante's Cabinet first and then in other rooms in the Palazzo Poldi Pezzoli in Milan (now home to the Museum of the same name) were instead of neo-medieval taste, made with the Bertini team of which Scorsati was part. The disease that struck Scrosati in the lower limbs in 1857, making him ill, probably prevented him from continuing his activity as a decorator, forcing him to fall back on floral easel painting, which led him to produce still lifes of flowers, but also portraits or fake bas-reliefs with garlands of flowers or even interiors and genre scenes, in which he was influenced by the German and Viennese production of the Biedermeier type and the French one of the Lyon school. In 1862 Scrosati was commissioned to direct a new Ornato course at the Brera Academy, with particular reference to flower painting and relations with industry, a course set up by the Braidense institution to expand the already flourishing school of ornamental painting. The work is presented in a style frame.

Oil painting on canvas. The painting tells the biblical episode narrated in the book of Exodus in which Hagar and her little son Ishmael that the slave had given birth to by Abraham, driven out of the patriarch's house due to the jealousy of his wife Sarah, find themselves in the desert of Beersheba without water: God sends them an angel who helps them by pointing the woman to a well of water. The scene is set in a Nordic landscape, anything but desert, but it is the figures that narrate the episode, standing out at the center of the scene in melodramatic poses. Restored and relined, the painting is presented in a late 19th-early 20th century frame.

Oil painting on canvas. The Madonna holds the Baby Jesus in her arms, and both hold the rosary crown, an invitation to Marian devotion. Above, angels appear from the open skies. The painting has previously been restored and relined; some small drops of color along the edges. It is presented in a contemporary frame.

Oil painting on canvas. Italian school of the 17th century. The variegated and multiform floral composition, developed vertically, is placed inside a vase resting on a base on which some fruits also lie. The background is black, to bring out the bright colors of the flowers. On the first canvas, the painting presents small widespread drops of color and a rather strong crack. It is presented in a stylish frame.