HERKULES IM KAMPF GEGEN THANATOS Öl auf Leinwand. 161 x 227 cm. Beigegeben eine Expertise von Prof. Fernando Mazzocca, Mailand 6. Mai 2019, in Kopie. Der Maler des vorliegenden Gemäldes zählt zu den hervorragenden Künstlern des italienischen Klassizismus. Neben der Malerei widmete er sich auch der Architektur und Bildhauerei. Seine Bedeutung lässt sich ermessen, wenn wir erfahren, dass Johann Wolfgang von Goethe (1749-1832) eine Medaille mit dem Bild des Künstlers in seiner Sammlung hielt, dass ferner der französische Schriftsteller Stendhal (1783-1842) ihn in seinem Hauptwerk „Die Karthause von Parma“ öfters erwähnt. Erste Ausbildung erhielt Palagi an der Accademia di Bologna. 1806 begab er sich nach Rom an die Accademia di San Luca, wo er auch das Lehramt übernahm. Ab 1815 in Mailand, wurde er vom König von Sardinien und Piemont nach Turin gerufen, um dort ein Denkmal auf der Piazza del Palazzo di Cittá zu schaffen. 1836 wurde er zum „Maler für die königlichen Paläste“ bestimmt. Sein Oeuvre zeigt dem Klassizismus der Zeit entsprechend überwiegend Themen der Antike. Die umfangreichen Kenntnisse darüber erwarb er sich durch intensive Studien, nicht zuletzt in Folge seiner umfangreichen Bibliothek, die er dem Archiginnasio di Bologna überließ. Aufgrund dieser Kenntnisse, aber auch seiner Sammlung von ägyptischen, etruskischen und griechischen Antiken war er in der Lage, antik-mythologische, wie auch historistische Bildthemen in zum Teil neuartiger Sicht darzustellen. Seine Sammlung bildete einen Grundstock des Museo Civico Archaeologico in Bologna. Dieses vertiefte Interesse beweist auch das vorliegende Gemälde. Es zeigt die griechisch-mythische Legende, wonach Herkules den Totengott Thanatos besiegt, um Alkestis vom Tod zu erretten. Alkestis war die Gattin des Argonauten Admetus, König von Pherae. Die Geschichte wurde schon früh durch Euripides mit dessen Tragödie bekannt, darüber hinaus auch von weiteren antiken Schriftstellern wie Pausanias oder Apollodor verbreitet. Mit dem aufkommenden Interesse an antiken Stoffen in der Neuzeit wurde diese Tragödie auch für die Oper und das Theater neu entdeckt. Vittorio Alfieri etwa verfasste 1798 das Drama „Alceste“ (1714-1787), und Christoph Willibald Gluck komponierte die gleichnamige Oper, die 1767 in der Wiener Hofburg uraufgeführt wurde. Auch heute weniger bekannte Opernkomponisten griffen das Thema auf, etwa Giovanni Battista Lampugnani und Antonio Marcos Portugal. Deren Aufführungen erfolgten 1774 in London sowie 1799 in Venedig. Vor diesem Hintergrund ist auch das große Interesse an diesem Thema in der Malerei zu verstehen. Jean-François Peyron schuf 1785 ein entsprechendes Gemälde, welches sich im Louvre befindet. Völlig anders als die üblichen Darstellungen, die Alkestis zumeist als Sterbende im Bildzentrum zeigen, stellt Palagi hier den legendären Kampf zwischen Herkules und Thanatos dar. Der Gott des Todes, schon mit einem Fuß im Fluss Lethe, über den er Alkestis in den Hades führen wollte, wird durch den übermächtigen Herkules mit seiner Keule vertrieben. Leichenhaft, mit ins Grau ziehendem Inkarnat, wird Thanatos gezeigt, nur mit räudigem Fell bekleidet, sein Blick furchterregend. Im Hintergrund ist vor der Kulisse antiker Bauten die trauernde Familie der Alkestis zu sehen, die totenbleich niedersinkt. Die enge Gruppierung der Figuren erinnert an den traditionellen Chor griechischer Tragödienaufführungen. Das Bildmotiv des Helden, der die Keule zum Schlag erhebt, hat Palagi auch in seiner oben genannten plastischen Statue des Amedeo VI. von Savoyen in Turin von 1835 in Szene gesetzt. Figuren des Gemäldes finden sich auch in einer Reihe von Zeichnungen wieder. Eine davon hat Francesco Rosaspina im Stich veröffentlicht. Der glückliche Ausgang der Legende war es wohl auch, der das mythologische Thema so beliebt gemacht hat. Der Kampf der beiden Titelhelden findet sich in der Malerei dagegen nur selten. 1860 zeigt Delacroix Herkules, wie er die zum Leben erwachte in seinen Armen hält, vom Hades befreit. Frederic Leighton schuf um 1869 eine Darstellung der auf einem Laken liegenden Alkestis, ebenfalls mit einer Kampfszene rechts im Bild. Herbert Thomas Dicksee (1862-1942) schuf erst 1884 eine entsprechende Darstellung. Somit war Palagi wohl der Erste, der den eigentlichen Kampf zwischen Herkules und Thanatos als selbständiges Thema ins Bild gesetzt hat. A.R. Provenienz: Ehemals Privatsammlung, Bologna. Literatur: Vgl. Pelagio Palagi artista e collezionista. Grafis, Bologna 1976. Vgl. Claudio Poppi (Hrsg.), Pelagio Palagi pittore. Dipinti dalle raccolte del Comune di Bologna, Mailand 1996. Vgl. Carla Bernardini (Hrsg.): Pelagio Palagi alle collezioni Comunali d’arte. Palazzo Comunale, Collezioni comunali d’arte, Bologna/Ferrara 2004. Vgl. Carla Bernardini, Anna Maria Matteucci, Antonella Mampieri (Hrsg.), Magnifiche prospettive. Palagi e il sogno dell’antico, Ferrara 2007. Vgl. C. Poppi (Hrsg.), L’Ombra di Core. Disegni del fondo Palagi della Biblioteca dell’Archiginnasio, Ausstellungskatalog, Casalecchio di Reno 1988, S. 76 f., 122-125. (1370755) (4) (11) Pelagio Palagi, 1775 Bologna – 1860 Turin HERCULES FIGHTING THANATOS Oil on canvas. 161 x 227 cm. Accompanied by an expert’s report by Professor Fernando Mazzocca, Milan, 6 May 2019, in copy. The painter of the present painting is one of the eminent painters of Italian Classicism. In addition to painting, he also devoted himself to architecture and sculpture. As is typical for the Classicism of the time, his oeuvre mainly shows subjects from antiquity. Through intensive studies he gained extensive knowledge in this regard. Thanks to this knowledge, he was able to present ancient mythological as well as historical subjects in a partially new perspective. Completely different from the usual depictions, which mostly show Alcestis as a dying woman at the centre of the composition, Palagi depicts the legendary fight between Hercules and Thanatos. Figures from the painting can also be found in several drawings. Francesco Rosaspina published one of them in an engraving. Provenance: Formerly private collection, Bologna. Literature: cf. Pelagio Palagi artista e collezionista, Grafis, Bologna 1976. cf. Claudio Poppi (ed.), Pelagio Palagi pittore. Dipinti dalle raccolte del Comune di Bologna, Electa, Milan 1996. cf. Carla Bernardini (ed.), Pelagio Palagi alle collezioni Comunali d’arte. Bologna, palazzo Comunale, Collezioni comunali d’arte, Edisai, 2004. cf. Carla Bernardini, Anna Maria Matteucci, Antonella Mampieri (ed.), Magnifiche prospettive. Palagi e il sogno dell’antico, Edisai, 2007. cf. C. Poppi [ed.], L’Ombra di Core. Disegni del fondo Palagi della Biblioteca dell’Archiginnasio, exhibition catalogue, Casalecchio di Reno 1988, p. 76ff., 122-125.
(Bologna 1775–1860 Turin) Hercules fights Thanatos to free Alcestis from Hades, oil on canvas, 161 x 227 cm, framed Provenance: Private collection, Bologna; where acquired by the present owner We are grateful to Fernando Mazzocca for confirming the attribution of the present painting and for his help in cataloguing this lot. The present painting is a significant addition to the oeuvre of Pelagio Palagi, contributing to the understanding of the artist’s corpus of works as well as to the study of Italian Neoclassical figurative painting. That Palagi was an artist of cultured refinement is demonstrated by his library which he bequeathed to the Archiginnasio di Bologna where it remains to the present day. During the course of his career, he was active between Rome, Milan and Turin. He established himself as a leading protagonist in the final phase of Neoclassism and the beginning of the Romantic movement, engaged in history painting (see C. Poppi (ed.), Pelagio Palagi pittore. Dipinti dalle raccolte del Comune di Bologna, exhibition catalogue, Milan 1996). Although the present painting is not cited in any of the known sources, stylistically this work clearly points to Palagi’s hand, moreover, it has a clear point of reference in the form of another smaller version, which is unmistakably the bozzetto or study for the present work and in which there are some minor compositional variants in the depiction of the background. The principal difference between the study and the final work, however, concerns the depiction of the figure battling the hero, represented in the sketch as the Goddess of Death (perhaps one of the Moirai) depicted as to appear almost translucent, as if to emphasise the immateriality of the personification, while in the present painting the male figure of Thanatos, or Death personified, is rendered with solid realism: his body is characterised by livid grey flesh in startling contrast to that of the athletic figure of Hercules. In this, the final work, the pose of the figures is also more fully resolved, thanks to their greater dynamism and more precisely defined gestures. The story of Alcestis, the wife of the Argonaut, Admetus, King of Pherae, gained considerable acclaim owing to its telling by Euripides in his earliest known tragedy Alcestis; her story was also told by several other classical writers including Apollodorus, Diodorus Siculus, and Hyginus in his Fabula as well as by Pausanias. The tale was again taken up in the modern era, by Vittorio Alfieri in his celebrated drama Alceste written in 1798 and in Christoph Gluck’s opera Alceste which premiered at the Hofburg, Vienna, in 1767. Dating to the same era are the less well known operas of Giovanni Battista Lampugnani presented in London in 1774 and that of Antonio Marcos Portugal staged in Venice in 1799. In painting, the most frequently represented episode of the heroine’s story is the Death of Alcestis, such as the painting by Jean François Peyron of 1785 which is conserved in the Louvre. This myth evidently exercised considerable interest, not least on account of its final resolution, whereby Alcestis is restored to life thanks to the intervention of Hercules. Apollo, having been condemned by Zeus to serve a mortal man for a full year, had spent his time in the service of Admetus as the guardian of his flocks. Since the king had treated him with respect, the god helped him attain the favour of Alcestis. However, on the day of their wedding Admetus forgot to make sacrifice to Artemis, on account of which the goddess, to warn him of his imminent death, had him find snakes in his bed. Just as his final hour arrived, Apollo managed to gain a promise from the Fates that his protégé could continue to live, if someone was willing to sacrifice themselves and accept death in his place. No one, not even Admetus’ elderly parents, offered themselves, therefore Alcestis decided to accept death in place of her husband, thereby setting an example of conjugal devotion. It was at this moment that Hercules, who was then a guest of Admetus, intervened. He engaged Thanatos in a tremendous struggle and managed to save Alcestis from the death and brought her back from Hades to Admetus. Instead of representing Alcestis’ death, the most obvious episode in the story Palagi chose to depict the fight between Hercules and Thanatos, here rendered not as an abstract spirt, but as a terrifying divinity with an infernal gaze and an emaciated, corpselike body whose nudity is covered only by the pelt of a ferocious animal. Both the figure of Hercules, isolated in an extraordinary pose of latent energy, and that of Thanatos, caught in a movement encapsulating immense tension, can be referred to another theme, drawn from Greek tragedy, and frequently rendered by the artist: that of Orestes pursued by the Furies after having killed his father Agamemnon. Their poses reoccur in a series of magnificent drawings, the most finished of which was engraved by Francesco Rosaspina (the print appeared for sale with Gonelli, Florence, 11 October 2017; for the set of drawings see C. Poppi [ed.], L’Ombra di Core. Disegni del fondo Palagi della Biblioteca dell’Archiginnasio, exhibition catalogue, Casalecchio di Reno 1988, pp. 76–77, 122–125). As for the figure of Hercules, another compositional comparison can be with the athletes in action, rendered in the now lost fresco La Lotta, executed in the Sala della Lanterna of Palazzo Reale Milan, executed between 1821 and 1822 and now known only through preparatory drawings and documentary photographs. The present painting dates to a similar moment owing to the complexity of the composition and the elevated quality of execution, signaling Palagi’s full maturity. The battle between Hercules and Thanatos is a motif emblematic of the constant struggle between life and death: placed at the centre of a complex composition they are elegantly framed by the surrounding all’antica architecture silhouetted against the sky, and the background figures, including to the left Alcestis on the verge of death, serve in a role akin to that of the chorus in the staging of a Greek tragedy.
Pelagio Palagi (Bologna, 25 may 1775 - Torino, 6 march 1860) Scagliola fireplace decorated with allegorical figures on black marble (138x102x21) (losses and restorations) The fireplace is a coeval replica of the specimen made in 1834 for the Etruscan Cabinet at Racconigi Castle. The work to modernize the rooms in that building was commissioned in 1832 by King Carlo Alberto of Savoy Carignano of Sardinia shortly after his ascension to the throne in 1831. The building site was entrusted to the painter and architect Pelagio Palagi(1775-1860) who was responsible for the decorations of the rooms among which the Etruscan Cabinet intended as the King's study and reception room stands out (Bertrand de Royere, Pelagio Palagi. Décorateur des Palais Royaux de Turin et di Piémont, Paris, 2017, pp.101-2, 234-240). The room, one of the finest examples of Palagi's eclecticism and historicist taste in the first half of the 19th century, features painted decoration on the vault and walls made by Giovanbattista Airaghi (1803-1855) inspired by the paintings of the Knight's Tomb, discovered in 1827 in Tarquinia, and by Apulian vascular findings taken from collections such as the Antiquités étrusques , grecques et romaines du cabinet de M Hamilton, by d'Hancarville (published in Naples, 1766-67). Furnished with furniture made by the famous court cabinetmaker Gabriele Capello, known as Moncalvo, the room is entirely based on the colors of brown, ochre, white and black following the model of ancient vase painting. Centering this elaborate setting, the fireplace unfolds the juxtaposition of ochre scagliola inlays on the black marble background the figures of winged maidens pouring water from vases, placed in the segments of the arch, and figures standing on plinths. In the Biblioteca Civica dell' Archiginnasio in Bologna some preparatory studies by Palagi's hand for this fireplace are preserved (de Royere, figs. 157-8). Executors of this composition were the sculptor Pietro Barbieri and for the "marmorino" work, as written in a payment, Francesco Gussoni, who must therefore have been the one who made the figures and ornamental motifs; the whole was finished and polished by Pietro Brusa (de Royere, p.234). IT Pelagio Palagi (Bologna, 25 maggio 1775 - Torino, 6 marzo 1860) Camino in scagliola con decoro a palmette e figure allegoriche su marmo nero (138x102x21) (mancanze e restauri) Il camino è una replica coeva dell’esemplare realizzato nel 1834 per il Gabinetto Etrusco del Castello di Racconigi. I lavori di riammodernamento degli ambienti in quell’edificio vennero commissionati nel 1832 dal Re di Sardegna Carlo Alberto di Savoia Carignano poco dopo la sua ascesa al trono avvenuta nel 1831. Il cantiere fu affidato al pittore e architetto Pelagio Palagi(1775-1860) che fu responsabile dei decori fissi e mobili degli ambienti fra i quali spicca il Gabinetto Etrusco destinato a studio de Re e sala di ricezione (Bertrand de Royere, Pelagio Palagi. Décorateur des Palais Royaux de Turin et di Piémont, Parigi, 2017, pp.101-2, 234-240). L’ambiente, uno dei massimi esempi dell’eclettismo di Palagi e del gusto storicista della prima metà dell’Ottocento, presenta una decorazione dipinta sulla volta e sulle pareti, realizzata da Giovanbattista Airaghi (1803-1855) ispirata alle pitture della Tomba del Cavaliere, scoperta nel 1827 a Tarquinia, e a reperti vascolari apuli desunti da raccolte come le Antiquités étrusques , grecques et romaines du cabinet de M Hamilton, del d’Hancarville (edita a Napoli, 1766-67). Arredata con mobili approntati dal celebre ebanista di corte Gabriele Capello, detto il Moncalvo, la stanza è interamente basata sulle cromie del bruno, dell’ocra, del bianco e del nero seguendo il modello della antica pittura vascolare. A centrare questa elaborata scenografia il camino dispiega la contrapposizione degli intarsi in scagliola ocra sul fondo di marmo nero sotto forma di palmette che corrono lungo il profilo- e di figure di fanciulle alate che versano acqua da vasi, poste negli spicchi dell’arco, e di personaggi stanti sugli zoccoli. Nella Biblioteca Civica dell’ Archiginnasio di Bologna si conservano alcuni studi preparatori di mano del Palagi per questo caminetto (de Royere, figg. 157-8). Esecutori di questa composizione furono lo scultore Pietro Barbieri e per i lavori di "marmorino", come si scrive in un pagamento, Francesco Gussoni che dovette essere dunque colui che realizzò le figure e i motivi ornamentali; il tutto fu rifinito e lucidato da Pietro Brusa (de Royere, p.234).
Palagi, Pelagio - Palagi, Pelagio. Rara lettera autografa firmata, una pagina in 8°, indirizzata al ‘Sig. Prof.re Carlo Cornaglia’ che l’artista bolognese invita a casa sua per ‘porre a posto le medaglie da lei scelte, che ora sono mie definitivamente’.
Maße: 162 x 102 x 68 cm. Pelagio Palagi (1775 - 1860), zugeschrieben Italien, 19. Jahrhundert. Über rechteckigem Grund erhebt sich der neunschübige Korpus in Bügelform. Die Schubfronten mit antikisierender Ornamentik marketiert. Aufsatz mit ebenso verziertem Spiegel in liegendem Oval von zwei gegenläufigen Füllhörnern gehalten. Literatur: Vgl. Carla Bernardini (Hrsg.): Pelagio Palagi alle Collezioni comunali d‘arte, Ausstellungskatalog, Bologna, Ferrara 2004. (1321898) (13) Boudoir Furniture Dimensions: 162 x 102 x 68 cm. Pelagio Pelagi (1765 - 1860), attributed. Italy, 19th century. Literature: Cf. Carla Bernardini (ed.): Pelagio Palagi alle collezioni Comunali d‘arte, exihibition catalogue Ferrara, 2004.
PALAGI PELAGIO (1775 - 1860). Portrait of Countess Rignon.. Signature on the letter lower left. Bibliography: G.L. Marini, Il valore dei dipinti dell'ottocento, XIV edizione, Allemandi Editore, 1996/97, p. 437. Cm 18,00 x 23,50.
(Bologna 1775 - Torino 1860) "Vergine" olio su tavola (cm 60x46) Al retro: iscrizione In cornice (difetti) Opera accompagnata da perizia scritta rilasciata dal Prof. Fernando Mazzocca
Disegno A Matita E Biacca Su Carta, Firmato Al Recto In Basso A Sinistra, Lieve Ossidazione Della Biacca Sui Volti. 20 X 27 Cm Bel Disegno Del Grande Artista Neoclassico Bolognese. - Pencil Drawing With White Lead On Paper, Signed Lower Left Recto. Slight Oxidation Of The White Lead On The Faces. 7.87 X 10.63 In. Fine Drawing By The Great Bolognese Neoclassical Artist.
(Bologna 1775 - Torino 1860) "Vergine" olio su tavola (cm 60x46) Al retro: iscrizione In cornice (difetti) Opera accompagnata da perizia scritta rilasciata dal Prof. Fernando Mazzocca
PELAGIO PALAGI (Bologna, 1775 - 1860) Pyramus and Thisbe Mixed media on paper laid down on canvas, cm. 49,5x64. Framed PROVENANCE: Private collection, Lazio.
PELAGIO PALAGI (Bologna, 1775 - 1860) Pyramus and Thisbe in love Mixed media on paper laid down on canvas, cm. 49,5x64. Framed PROVENANCE: Private collection, Lazio.
Pelagio Palagi (1775-1860)-school,Grand Tour marble top, rectangular shape, with pietra dura marble intarsias on black marble ground; in the centre an ancient warriors helmet surrounded by leaves and classical border frieze in light red and white marble. Possibly Central Italian 19th Century. On later acrylic glass stand.
Provenance: 1872 by Corot to Louis Fréret; by Fréret to Francis Petit; MM. Arnold und Tripp, Bague, Schauss; Knoedler, New York, no. 15556 (number verso on the stretcher still present); Southern German private collection.
PELAGIO PALAGI (Bologna, 1775 - 1860) Pyramus and Tisbe in love Mixed media on paper laid down on canvas, cm. 49,5x64. Framed PROVENANCE: Private collection, Lazio.
PELAGIO PALAGI (Bologna, 1775 - 1860) Pyramus and Thisbe Mixed media on paper laid down on canvas, cm. 49,5x64. Framed PROVENANCE: Private collection, Lazio.
Attributed to Pelagio Palagi (Bologna ?1775/7-1860 Turin), Hercules at the crossroads between Vice and Virtue, Attributed to Pelagio Palagi (Bologna ?1775/7-1860 Turin) Hercules at the crossroads between Vice and Virtue tempera on canvas, tondo 95 7/8 in. (243.7 cm.) diameter ,
Olio su tela. cm 28x39. Firmato sul verso "Pelagio Palagi fecit 1819". Studio per un fregio decorativo, risalente al periodo in cui l'artista, trasferitosi nel 1815 a Milano, affianca l'attività di ritrattista a quella di decoratore e architetto, spesso lavorando in collaborazione con Hayez. Firma rarissima sul mercato nazionale.
Höhe: 45 cm. Breite: 45 cm. Tiefe: 45 cm. Italien, erste Hälfte 19. Jahrhundert. Holz beschnitzt, gefasst und teils vergoldet. Die Bänkchen mit X-förmig gestellten Beinen auf Kugelfüßen, über welchen Lanzettblätter hochziehen. Der Schnittpunkt der Beine ist mit einem Löwenkopf in kräftigem Relief besetzt, der flankiert wird von horizontal liegenden, stilisierten Palmetten. Die mit Akanthusblättern beschnitzten Beine laufen unter der Zarge in kräftigen Voluten aus. Diese mit einer Rosette dekoriert. Zwischen die Voluten gestellt und dort mit einem Riemen geschnürt ist ein Bündel Akanthusblätter. Die gedrehte Zwischenverstrebung ist balusterförmig ausgebildet und mit Akanthusblättern, Godronnierung und diagonal laufenden Kanneluren beschnitzt. Die gerade Zarge schmückt ein Fries mit Blatt- und Rosettendekor. Auf der quadratischen Fläche eine hohe Polsterung mit elegantem, goldenem Seidenbezug. Stellenweise Wurmfraß, behandelt und min. Fassungsverluste. Rest. Anmerkung: Sitz-Möbel von Palagi befinden sich z.B. im Metropolitan Museum, New York. (940499) Rare set of four small benches after a design of Pelagio Palagi, 1775 - 1860 Height: 45 cm. Width: 45 cm. Depth: 45 cm. Italy, first half of the 19th century.
PELAGIO PALAGI (Bologna 1775 - Torino 1860) Gesù e Ponzio Pilato davanti al popolo Trasfigurazione di Cristo Coppia di inchiostri su carta marrone, cm. 18 x 23,8 Non firmati In cartella Rare le raffigurazioni religiose nella produzione dell'artista. Questi interessanti disegni raffigurano due scene della passione di Cristo, che tuttavia sono permeate dalla più tipica espressione neoclassica del Pelagi. I suoi stilemi si evincono dall'elegante movimento delle figure e nella raffigurazione degli abiti e delle architetture, vissuta con pathos romantico. L'attribuzione certa ci è comunicata dalla proprietà Bibliografia Il Romanticismo storico: Francesco Hayez e Pelagio Palagi, Milano, Pinacoteca di Brera, 2001 D. Pescarmona, Alcuni disegni di Pelagio Pelagi per due pale d'altare, in Bollettino d'Arte, LXVII, 13, 1982
in the manner of Filippo Pelagio Palagi (1775-1860), each in the form of a cherub supporting foliate cast branches, raised on rectangular plinth bases with front paw feet each 69cm. high, 2ft. 3in.
Filippo Pelagio Palagi (Italian, 1775-1860) An architectural capriccio: Figures in the vaults and on the steps of a domed palace pen and grey ink, watercolour and bodycolour 13 x 16¾ in. (33 x 42.5 cm.)
FILIPPO PELAGIO PALAGI (ITALIAN, 1775-1860) AN ARCHITECTURAL CAPRICCIO: FIGURES IN THE VAULTS AND ON THE STEPS OF A DOMED PALACE PEN AND GREY INK, WATERCOLOUR AND BODYCOLOUR 13 X 16¾ IN. (33 X 42.5 CM.)
Pelagio Palagi (Bologna 1775-1860 Torino) Studio di testa di giovane uomo Firmato a penna e inchiostro bruno "Palagi la sera del 28 aprile 1849" in basso a sinistra matita nera su carta 168x110 mm. senza cornice
Pelagio Palagi (Bologna 1775-1860 Torino) Tre bagnanti Firmato "P. Palagi" a penna e inchiostro bruno matita nera su carta 313x427 mm. foglio piegato a metà; senza cornice
