Antique Painting Signed F. Mazzucchi Religious Subject XIX Century - Madonna with Child

Copper panels decorated with enamels. This is a 19th-century reproduction of the enamelled Cross of Paschal I (817-824), an important staurotheca in embossed and gilded copper, which contained within it minute fragments of the Cross of Christ, and which became part of the Treasure placed by Leo III (795-816) in the oratory called Sancta Sanctorum in the Lateran. The Cross is made up of five panels, arranged in the shape of a Latin cross, on which seven episodes from the life of Jesus are depicted with lively enamel figures. In the upper panel are the Annunciation and the Visitation of Mary; in the centre panel is the Birth of Jesus; on the left is the Flight into Egypt and on the right is the Adoration of the Magi; and finally in the lower arm is the Presentation of Jesus at the Temple and the Baptism of Jesus. The panels are composed on a wooden base and presented in a glass case frame.

Oil on canvas. Central European school of the late 19th-early 20th century. Unidentified signature on the lower right. The landscape glimpse shows a countryside with coniferous woods, crossed by a stream and dominated by rocky peaks. The painting is presented in a golden frame from the early 20th century, with decorations and friezes.

Mountain Landscape, 1917

Oil on cardboard. Signed and dated lower right. Originally from the province of Cuneo, Giovanni Rava dedicated himself mainly to landscapes, rendered in realistic forms and with an impressionist touch, in the shades of luministic effects. The work is presented in a mid-20th century frame.

Oil painting on canvas. Bottom right signed Borella and dated 1894. It is probably Rafael Borella (1874 -1953), a painter born and trained in Milan but then moved to Uruguay. His first Italian production includes Venetian and Val d'Aosta landscapes. This painting, which offers a mountain view, with meadows crossed by a stream near which a fisherman sits. The scene could therefore be a youthful production by Borella, suited to him in terms of subject and style. The work is presented in a contemporary frame.

Landscape with River and Figures 1878

Watercolor and pencil on paper. Signed and dated lower left. We know of several landscape views of the English countryside by the English painter Henry Clifford Warren, mostly painted in watercolour. Here is a view of a wooded countryside crossed by a wide river, with a shepherd leading his cows to graze on the hill in the foreground. Presented in a frame.

Oil on panel. Northern European school of the late 19th century. In the composition inside a shed, hunted game lies on a level; on the left the muzzle of the hunting dog appears but is turned towards a nest full of chirping birds, located above the shaft of the carriage seen on the right. The painting is presented in a period 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.

Pencil on paper. Good use of the hatching and chiaroscuro are shown in this portrait of a young woman. The portrait comes with a 19th century wooden frame that had beeen embellished with leafy and floral leather inserts; the frame has some color drops and some missing parts.

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.

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).

Oil on canvas. French school of the late 19th century. Trace of unidentified signature at the top right. In the foreground, the faces of two popular characters who seem caricatured, perhaps characters in a theatrical performance: it seems the scene of a satirical courtship, with the man who looks lasciviously at the woman, certainly not young and attractive, who is holding a bunch of flowers with an expression between resigned and confused. The painting is presented in a frame from the early 1900s.

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century frame.