Antique Painting Genre Scene Oil on Canvas French School '800 - The Announcement of Defeat at Waterloo

Crayons on cardboard. Signed Rossi lower left. Melancholic and ethereal portrait of a young woman, with a serious expression and lost in her thoughts, despite her elegant and graceful party dress. The work is presented in a contemporary frame.

Oil painting on canvas. At the bottom left there is a signature traced very lightly and not decipherable. There is a plaque on the frame attributing the work to Jean-Baptiste François Pater (1695-1736), which is considered inconsistent. The landscape develops near the mouth of a river into the sea; on the left there is the landing directly to a group of houses; on the right a rowboat is leaving the tree-lined shore, with two scantily clad figures. Relined, the painting is presented in a late 19th century frame.

Oil painting on canvas. On the back there is a dedication with the date 1862 and the signature "Per Monsignor F. di Mombello, devotamente Petrus Lucatello decisit". The extremely serene and peaceful landscape presents a stretch of rocky sea coast, inhabited by figures of fishermen and commoners, with the ruin of a stone arch. The painting is presented in a late 19th century frame.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in the foreground, in a barren countryside landscape with traces of snow, the figures of a small family descending from a sort of sleigh stand out. made of wood, filled with straw and pulled by a horse. Restored and relined, the painting is presented in a gilded wooden frame in style, with several defects.

Oil painting on canvas. Northern European school of the early 19th century. The painting, according to nineteenth-century taste, aims to propose more of a genre scene than a landscape: in fact, two figures stand out in the foreground, a man who is fishing with a line and a net, and a woman who looks at him sitting on a rock overlooking on the water, anxious about the outcome of the fishing, which will presumably guarantee the couple's meal. The surrounding landscape is that of a rocky coastal stretch, in a sea inlet overlooking a town on the other shore; a boat sails in the sea, of another you can only see the flagpole behind the rock. Restored and relined, the painting is presented in a period frame, with several defects.

Chromolithography on paper, enriched by silver metal applications that define the halos of the Virgin and Child. The oval lithograph is also placed in a display case which is also exquisitely enriched with silver and gilded metal inserts, which define further frames with purely floral motif decorations. The representation presents the Madonna holding the rosary crown in her hand and the Baby Jesus in her arms, flanked on the sides by two saints of the Dominican order. The further frame with glass is made of wood with golden carvings.

Pastoral Scenes

Oil on panel. Decorated with pastoral scenes on a monochromatic light green background, with couples, children, farmers depicted during moments of rest and conversation, in the guise of the models from the 18th century. Probably wooden panels from the doors of furniture, the paintings have been recently mounted on wooden frames. They present some paint losses and spots, especially where the background is.

Virgin Mary with Child 1891

Oil painting on canvas. Signed and dated lower left. The Vercellese painter Giuseppe Gennaro created sacred subjects, as well as portraits and genre scenes. Here a Madonna and Child is proposed, in which the position of Jesus evokes the Cross, which Mary helps to hold. The work is presented in a contemporary gilded frame.

Crayons on cardboard. Elegant portrait of a young lady, with a floral garland like a necklace. Presented in a contemporary golden frame.

Oil on wooden board. The painting pictorially reproduces the famous sculpture by Michelangelo, the Pietà of San Pietro or Pietà Vaticana. The composition of the figures is quite faithful to the reference work, but, as well as being painted in colour, it is placed in an open-air setting that refers to Renaissance painting, with the hill of Calvary emerging in shadow on the left. A coat of arms is painted at the bottom left, evoking a noble patronage. The work is presented in a period frame. It has several spots and small drops of color.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

Gouaches on paper. The two small paintings offer Neapolitan views, identified by the inscriptions below: on the left, the eruption of Vesuvius in 1794, on the right, the entrance to the Grotte di Pozzuoli. Typical Grand Tour works, practically delicate and detailed postcards. They are presented in a single frame.