- Figures of Saints 
- Biblical scene 
- Caricatures, satirical drawings 
- Composizione 
- Landscape with animals 
- Japanese booklets 
- Floral Composition 
- Historic Subject 
- Landscape with Figures 
- Landscape 
- Marine Landscape 
- Views/City Glimpses 
- Portrait/Face 
- Sacred Subject 
- Genre Scenes 
- Scene with Figures 
- Human Figures 
- Angelo Dall'Oca Bianca 
- Giovanni Boni 
- Jean-Pierre Thénot 
- Giulio Branca 
- Luigi Scrosati 
- Louis-Gabriel Lennevaux 
- Mentore Silvani 
- Giovanni Sottocornola 
- Lorenzo Gignous 
- Louis Rados de Parme 
- Vincenzo Gazzotto 
- Luigi De Paoli 
- Giacomo Micheroux 
- Giovanni Muzzioli 
- Salomon Corrodi 
- Sante Conti 
- Giuseppe Giardiello 
- Daniel Hernandez 
- James Salt 
19th CENTURY PAINTINGS
In this section you can find all the works of 19th Century Art available in our online catalogue. A wide and refined selection that includes landscapes, still lifes, portraits, faces, sacred subjects, glimpses and views of 19th century artists with which to enrich the rooms of your home
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View of Venice
View of Venice
Oil painting on canvas. Signed lower right. Several Venetian views of this English artist are known, with views of the Grand Canal populated by small boats with orange triangular sails; pastel, delicate and bright shades prevail. The work is presented in a stylish frame.
Oil on canvas. Center-Italian School. The glimpse shows a river that flows fastlly crossing an hilly landscape; along the shore, at the left side, there are two women that are washing clothes and a wayfarer; on the right side of the river, in the background, ther is a small hamlet. The painting shows small drops of color. It comes in a 20th century frame that had been gilded again.
Musketeer with Arquebus 1875
Musketeer with Arquebus 1875
Oil on wood. At the bottom right the signature, date and location. The Peruvian painter Daniel Hernandez stayed in Europe for a long time, first in Rome where he dedicated himself to the study of classical painting, then in Paris, where he was influenced by impressionism. he was a portraitist and genre painter. In this work, from the Roman decade, Hernandez portrays a character from popular history, a musketeer (or perhaps a brigand?) armed with a harquebus, standing close to a stone wall adorned with a coat of arms. The work is presented in a period frame.
Oil on canvas. Central European School of the 19th century. The Holy Family, in very domestic and simple clothing, are standing outside a tent in a deserted area, which the pyramid at the bottom left allows us to place in Egypt, the place of the family's exile during Herod's persecution. A young shepherdess is honouring the Child with a lily, symbol of purity, and a basket of fruit, whose red colour is meant to allude to the Passion. Next to the human figures are the farmyard animals of the characters' domestic life, the family's faithful donkey and the girl's sheep. The work is presented in a carved and gilded wooden frame.
Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.
Under glass painting. The work appears to be composed of an engraving applied to the glass and painted on the back. Saint Peter the Apostle is depicted, intent on prayer and listening to the divine voice that comes from the open heavens above him; according to traditional iconography Peter has with him a bunch of keys, a sign of his investiture as the first head of the church, and a cockerel, which instead recalls the episode of Jesus' denial: Christ had predicted to him that during his Passion, before the rooster had crowed, Peter would have denied him three times, and so it was.
Wooden sculptures. It is a composition of two wooden heads, a male one and a female one, placed on a board and framed by a gilded frame of 19th century. The heads might had been the handles of a canteran of 17th century.
Oil on canvas. Mid 19th century. The large scene tells an unidentified historical episode, set in the Renaissance period, in which an archbishop listens to the plea of a young man in arms, accompanied by his mother, who supports his plea. The setting is inside the reception hall of the high prelate, presumably in the bishop's palace, which from the loggia in the background overlooks the Cathedral, whose dome can be glimpsed; the bishop is surrounded by his subordinates and guards, while different people of the people attend. Particular is the presence of the man sitting in the foreground on the left, who looks towards the viewer and points to the scene, as if he were telling it. The atmosphere is played on the contrasts between lights and shadows, between the bright colors of the dominant characters compared to the dull and suffused tones of the surrounding figures, who literally tend to disappear into the shadows at the limits of the scene. The work is part of that large nineteenth-century production that drew on the historical or literary subject, re-proposing it in a romantic key. The painting, restored and relined, is presented in an important frame from the second half of the 19th century, with some shortcomings.
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.
Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.
OIl on canvas. North Italy School. Small glimpse of a steam that flows between the houses; we can see two figures, one is a soldier that is passing under the bridge on his boat; the other man is crossing the bridge while pulling a dunkey that is pulling a cart. The painting needs to be restored because of several drops of color of which the biggest one is on the left side of the bridge. It comes in a gilded coeval frame.
Pencil, charcoal and white lead on paper. SIgned (Amalia Bianche?) and dated at the bottom right. Very effective is the use of different pigments that creat a play of chiaroscuri underlined by the figures. The portrait come in a 19th century wooden frame that had been embellished with leather floral and leafy inserts. It shows small drops of color and missing parts.
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.
Oil on canvas. Eastern European School. Signed Szego G. below. These are two works to be proposed aligned because they depict a boy and a girl lying on the same lawn in a mirrored position, as if facing each other, probably intent on a love game: they wear gypsy clothes and have musical instruments with them - she a tambourine and him a violin - which refer to two characters of Slavic ethnicity, from the gypsy world. The whole is lively and serene. The two works are presented in styled frames.
The Morning Toilet
The Morning Toilet
Oil painting on canvas. The curious and ironic genre scene presents two women who, sitting naked among the bushes by the sea, are intent on their toilet, one dipping her feet in the basin full of water, the other busy tying her boots . Both have ironic and allusive looks which, without any shame in showing their roundness, are directed towards someone who is observing them. The painting has been restored and relined.
Oil on canvas. The painting is a copy of a work by Alexis Grimou (1678 -1733), executed in 1725 and now in the Uffizi Gallery in Florence. Grimou, also referred to as the French Rembrandt, had become a specialist in these costumed portraits, Spanish-style, but was rather repetitive in his choice of costumes for his portraits: this pilgrim, which exists in both male and female versions, was often used by him with small variations. The painting presented here also overlaps the dimensions of the original, which was evidently originally sold as a 'copy by. The young man, a teenager with his back turned to look back at the viewer, is presented dressed in a jacket with a gala collar and sleeves, with a pilgrim's flask tied to his hip and holding a pilgrim's staff with his right hand; the other hand hides his hat behind the back. The painting manages to reproduce rather well that range of colours from brown to warm red and saffron yellow that looked to Rembrandt, It is presented in a coeval frame.
Crayons on cardboard. Elegant portrait of a young lady, with a floral garland like a necklace. Presented in a contemporary golden frame.
Oil painting on canvas. Signed lower left. Inside a rural kitchen, a peasant family allows themselves a moment of celebration: the father plays the mandolin, listened to by the little girl who seems to want to dance, assisted by her mother, and by the other women of the house, smiling as they carry out their domestic tasks. The production of the Neapolitan painter Giuseppe Giardiello always looked to the folklore of Neapolitan rural and peasant life, painting, with intimate and delicate tones, both scenes of domestic life and landscape views animated by figures. The work is presented in a contemporary frame.
Crayon and chalk on paper. Signed lower left. At the bottom right is the wording "from photography". The painter and poet from Portogruaro mainly devoted himself to sacred decorative painting for the churches of the Veneto and Piedmont. The portrait proposed here is presented in a coeval frame, which needs restoration due to multiple deficiencies.
Oil painting on canvas. Northern European school of the 19th century. Portrait of a curvy and composed lady, in sober house dress. Restored and relined, it is presented in a period frame.