Watercolor painting by Salomon Corrodi - View with Ruins

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.

Oil painting on canvas. The composition features mixed fruit - grapes, apples, medlars, figs - placed on a cloth together with some mushrooms and some pink peonies. The colors stand out against the dark background. The painting is presented in an adapted style 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.

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.

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

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.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Pencil on paper. Bottom right, on both, the writing "Pietro Mulazzi sketched", with the date 1883. By an unknown artist but skilled in the use of pencils, these are the portraits of a bourgeois couple, whose gray faces emerge clearly from the paper background red. They are presented in contemporary gilded frames, with several shortcomings (to be restored).

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. Neapolitan school of the 17th-18th century. It is a traditional scene of the deposition of Christ from the Cross, with the inert and pale body lowered into the arms of his mother Mary, in turn embraced and supported in her pain by the disciple John, and around, sharing in the mourning, two pious women and two disciples. The scene is characterized by a diagonally descending linearity, which follows the body of Jesus, starting from the pole of the Cross raised on the left and ending with the woman crouched to embrace Jesus' feet on the right. All around, a bare and gray background, which underlines the drama and emptiness that it creates. Restored and relined, the painting is presented in an early 20th century frame.

Oil painting on canvas. The Madonna is depicted in glory, standing in the heavens and surrounded by little angels. The work, still on the first canvas, was applied on a modern stretcher: this fact, together with the incompleteness of the figure of Mary, suggests that the painting was part of a larger canvas. The painting is presented in a period frame.