Portrait of Lord Wood of Inchyra Attributed to John Watson Gordon '800 - Portrait of Lord Wood of Inchyra

Family Lunch 1802

Oil on canvas. Signed and dated lower left. Genre scene of popular taste, it portrays a bourgeois family preparing to have lunch: the father, already seated at the table, is about to bless the meal, while his wife and son, standing, follow the prayer. Little is known about Charles Christophe Coventry, an English painter of whom we know mainly genre scenes of popular settings, such as this one. Restored and relined, the painting is presented in a period frame.

Oil on canvas. The protagonists of the scene are a girl and a boy dressed in traditional Tyrolean clothes, a region to which the setting also refers, with its characteristic mountain chalets with flower-filled balconies; the girl, sitting knitting, joyfully receives the embrace of the boy, who takes her by surprise from behind. The pictorial style and subject matter refer to the production of some Tyrolean artists who tried their hand at popular and traditional genre scenes, including for example Hugo Kauffmann, specialized in popular interior scenes in costume. The painting, on the first canvas, shows traces of patches. It is presented in a gilded frame in style.

Courtship Scene 1887

Oil on canvas. Signed and dated lower right, with additional inscription "Baden" (place?). The scene shows a young couple in 18th-century folk clothes, sitting on a bench under a flowering tree, along a country path: the boy is making the girl try playing the recorder, a nice courtship device. There are no biographical information about the artist, who is of German origin by name and place indicated. The painting is presented in a period frame.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

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 canvas. The portrait derives from the half-length one painted in 1725 ca. by Ilario Spolverini (1657 -1734) and preserved at La Rocca Sanvitale in Fontanellato. Antonio Farnese (1679 -1731) was the eighth Duke of Parma and Piacenza, as well as the last of the Farnese, who had poor political and administrative skills and was unable to take care of the administration of the state and to remedy its enormous financial deficit; his subjects were burdened by blood-sucking taxes, while the court continued to get into debt with the Genoese bankers. The painting requires restoration due to paint loss and two small holes at the bottom. It is presented in a contemporary frame.

Oil on canvas. Flemish school of the 17th century. On the back there is a collector's cartouche. In a hilly landscape of rocks and clumps of trees, overlooking a small village on the left, a stream flows to form a foaming waterfall; on the banks some figures of peasants in transit or in conversation; on the right stands out the bird with the long tail, perched on a dry shrub. In the background, the hills fade into the sky full of clouds. The painting is presented in a regilded frame from the late 19th century.

Rebecca at the Well

Oil on canvas. The scene tells a biblical episode from the book of Genesis: Eliezer, Abraham's servant, is sent by him to look for a wife for his son Isaac. At a well, Eliezer meets a young woman, Rebecca, who offers him some of the water she had just drawn for herself and her camels. The servant interprets this gesture of kindness as a divine sign and proposes her as a bride for Isaac. A widely represented subject, in this work the figure of the young Rebecca stands out in the center, intent on offering the servant Eliezer the skin full of water, while around the servants and maidservants observe the scene. The work, already relined and restored, is presented in a strip frame.

Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.

Oil on canvas. Inside an inn, which almost seems to be made in a cave, opening onto a rather barren countryside, some men eat, drink and relax at the table next to the fire, while a woman sitting on the floor watches them amused while eating. The figures are grotesque, almost caricatural, the colors earthy, to underline the peasant extraction of the scene. Restored and relined, the painting is presented in an ancient frame.

Oil on canvas. Inside an inn, some customers are playing cards: the man sitting on the left is cheating, hiding a card in the collar of his shabby jacket, under the amused gaze of the innkeeper who arrives. The figures are grotesque, almost caricatural; the colors are predominantly earthy, to emphasize the popular setting. Restored and relined (on the back is a restorer's label dated 1952), the painting is presented in an antique frame.

Oil on canvas. Central European school of the 18th century. The distinguished lady, who flaunts a dress enriched with bows and lace, is seated at her desk and holds a letter in her hand; at the bottom left an envelope bears traces of a name, unfortunately illegible, a device to make the portrayed character known. Restored and relined, the painting is presented in an early 1900s frame.