Painting Double Female Portrait, 1891

Antique Painting Signed Angelos Giallinas Watercolor on Paper '800

View of Corfu with a Small Church and a Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Antique Painting Signed Angelos Giallinas Watercolor on Paper '800

Glimpse of Corfu with Monk

Watercolor on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. The painting has slight scratches. Framed.

Antique Painting Signed A. Giallinas Watercolour on Cardboard '800

View of Corfù

Watercolour on paper. Signed lower left. Angelos Giallinas, born in Corfu, was known for his numerous views of his native island, although his landscape production includes glimpses of Greece, other Greek islands, Italian and oriental cities. His watercolor glimpses are pervaded by a suspended, veiled atmosphere. This same view of the island was presented, in a smaller example, at a Sotheby's auction in London in 2002. The work is presented in a frame.

Antique Painting Signed Achille Zo Oil on Canvas XIX Century

Female Portrait

Oil on canvas. Signed on the right, halfway up the canvas. It is the portrait of a woman in mourning, a young widow, as can be deduced not only from her black dress, but rather from her headdress and especially from the cameo with a male portrait, which she wears hanging from her neck. Achille Zo was a French artist (from Bayonne, a town in the Pyrenees that was culturally influenced by the Basque Country), who despite having repeatedly stayed in Paris and Bordeaux, where he trained artistically, then made several trips to Spain, both to Madrid (in 1856) and to Andalusia (1860), producing for several years works with historical subjects or Spanish genre scenes. At the end of the 1860s, he turned instead to Orientalism. There are also several portraits in his production. The painting proposed here, on the first canvas, is presented in a beautiful contemporary frame from the second half of the 19th century.

Antique Painting Alexander the Great in Gerusalem Mixed Technique

Mixed technique (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. The scene represents the meeting between a high priest and a leader: if he is followed by his entire army, with grim and armed soldiers of different ranks, the priest is followed by all the people who praise the winner, while two young women on their knees they offer wreaths of flowers. Behind the scene, the mighty walls with the entrance door to a city, towards which the priest points, almost as if handing it over to the leader. The priest's clothing, in particular the presence of the so-called "Decision" breastplate that he wears, refers to an Israelite priest, and therefore the city could be Jerusalem; instead the clothing of the victorious leader, with the helmet surmounted by two horses, refers to Alexander the Great, who actually conquered the city in 332 BC. The drawing is presented in a carved wooden frame from the late 19th century.

Antique Painting Ludovico il Moro Mixed Technique XIX Century

Ludovico il Moro's farewell to his wife..

Mixed media (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. Ludovico Maria Sforza cries at the tomb of his young wife Beatrice d'Este (1475 -1497); around him the friars of Santa Maria delle Grazie and on his left Bramante and Leonardo. On the short side of the marble canopy of the tomb there is the Sforza coat of arms, with two snakes and two eagles. Il Moro was profoundly shaken by the early death in childbirth of his very young wife Beatrice, his companion in his private but also political life, as well as his husband's, a patron of the artistic geniuses of their court, such as Leonardo da Vinci. and Bramante, authors of many pictorial and architectural works of the Visconti-Sforza court. Various versions of this episode are known, especially from the nineteenth century, from that of 1815 by Giovanni Battista Cigola at the Pinacoteca Ambrosiana, to that of Alessandro Reati of around 1850. The painting is presented in a carved wooden frame from the late 19th century.

Great Antique Tapestry Mythological Subject XIX-XX Century

The Nine Muses

Tapestry. The word Euterp appears at the bottom right. The enormous grass juice depicts the nine Muses, female Greek divinities, all sisters, as daughters of Zeus and Mnemosyne, and having the god Apollo as their guide. They represented the supreme ideal of Art, understood as the truth of the "Everything" or the "eternal magnificence of the divine". Initially considered in a generic way as divinities of song and joyous dances, responsible for putting into music and verse stories such as the origin of the world, the birth of gods and men, the exploits of Zeus, and often depicted accompanied by various musical instruments, starting from the Hellenistic era, all singing and musical expressions were associated with them, including sad and funeral ones, and other arts such as theatre, and each of them was associated with a specific genre of art, so that they could be invoked individually to exercise their inspiration and protection. The word "Euterp"refers to the name of one of them, Euterpe, muse of lyric poetry and music, traditionally depicted with a flute; but the name Euterpe etymologically means "She who cheers" who brings joy, and one can therefore think that the choice of this name to title the tapestry refers to the most ancient function of the Muses, those of bringers of joy through art. In this presentation, the muses appear dancing, dressed in veils and flowering branches; in their hands or placed next to them, instruments or other objects symbolizing the art that they inspire appear (both tragic and comic theatrical masks, the pictorial palette, various musical instruments...). The large painting has signs of wear and humidity stains.

Antique Painting with Forest Landscape Oil on Canvas XIX Century

Oil painting on canvas. The great scene with a realist subject is set in a thick forest where, near a spring, a small family has stopped for a rest break: leaving the cart with their belongings (without a horse, therefore pulled by hand!), a man , a woman and a large group of children, are resting, eating, cooling off at the source or playing. From the top left a ray of sunlight filters through the trees, which illuminates the group of figures located at the bottom centre, protagonists of the scene. The painting is presented in a gilded frame from the late 19th - early 20th century.

Antique Painting Portrait of a Child Oil on Canvas XIX Century

Oil painting on canvas. Northern European school of the late 19th century. Unidentified signature lower right. The portrait presents a child in a maritime context: he is sitting on a rock on a beach, by the sea, he is dressed like a sailor and is holding a small toy sailing ship in his hand. The child is rather prim and serious. The painting has slight tears in the canvas and color stains. It is presented in an imposing late 19th century frame, with several missing and damaged plaster decorations.

Ancient Painting G. Sottocornola '800 Interior of a Stable Canvas

Stable interior

Oil painting on canvas. Signed lower left. The work was previously acquired at the Sotheby's auction in Milan on 10/12/2007. It was exhibited in 1991 in the exhibition "Giovanni Sottocornola. Images from a collection" held in Milan at the Silbernagl Gallery. After an initial pictorial phase dedicated to portraits and still lifes, in the 1880s Giovanni Sottocornola approached social themes, which were becoming the favorite subjects of young Lombard painters attentive to the poorest aspects of society, linked to the adoption of original artistic techniques. Sottocornola embraced the practice of pointillist painting, of which he wrote in 1895 "For now it is certain, I am convinced that there is no other painting more capable of conveying certain sensations than this one". However, this type of painting remained entirely focused on light, on its uncertain tonal vibrations, as happens in the Interior of a stable, created towards the end of the 1980s, where the plays of light and shadow play and create the effects visual in the brushstrokes of color played on a few chromatic ranges, those of browns, expressed in a wide variety of shades. The work is presented in a period frame.

Painting by G. Micheroux The Bread's Oven Oil on Canvas XIX Century

Landscape with Figures and Bread Oven

Oil painting on canvas. Signed lower left. The landscape view shows in the foreground a mountain path that leads to a bread oven, where a woman prepares the bundles of wood for the fire, while a traveler approaches on the back of a donkey; in the valley the viaduct over the river that leads to the village, surmounted by other barren peaks. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.

Landscape Painting with Preaching Scene

Oil on canvas. Venetian school of the 18th century. The large Nordic landscape, with verdant mountain slopes through which a river flows, is inhabited by several figures in the foreground: a group of people are listening to a young man standing in the center, who is announcing something, pointing, with his arm stretched upwards, to the sun that is tearing apart the dark clouds. It evokes a sermon by Saint John the Baptist, although no iconographic element specifically refers to this character. The painting, restored and relined, is mounted on a stretcher from the early 1900s. It is presented in a contemporary frame.