Vittorio Matteo Corcos | Dreams / Sogni, 1896

Vittorio Matteo Corcos returned in 1886 to Florence, where he painted the prominent and the fashionable portrait of a modern girl, Elena Vecchi, which has become the most emblematic image of the so-called Belle Epoque.

His most notorious portrait, however, was that of his mistress, Elena Vecchi, the daughter of a naval officer who carned his fame as Jack La Bolina, the author of popular adventure stories.

Ave Maria (Schubert)

"Ellens dritter Gesang" ("Ellens Gesang III", D. 839, Op. 52, No. 6, 1825), in English: "Ellen's Third Song", was composed by Franz Schubert in 1825 as part of his Op. 52, a setting of seven songs from Walter Scott's 1810 popular narrative poem The Lady of the Lake, loosely translated into German.

Giovanni Battista Salvi called Sassoferrato (1609-1685) | The Madonna in prayer | Christie's

Hugues Merle | Genre painter

From National Gallery of Art:

Born in 1823 at Saint-Marcellin (Isère), Hugues Merle studied in Paris with the history painter Léon Cogniet (1794-1880) and devoted himself to a wide range of subjects, from religious themes and historical anecdotes to incidents from contemporary life, particularly of the urban and rural poor.

His greatest popular successes, however, were won by scenes of maternal affection and childhood innocence that he sought to imbue with impish sweetness and sentimentality.

Francesco Lavagna | The Neapolitan still life of the eighteenth century

Francesco Lavagna (Naples, 1684-1724) was an Italian still life painter who worked mainly in Naples.

Little is known about his biographical data and career, but he was first mentioned by B. De Dominici in the 18th century and has since been regarded as an important still life painter of the Neapolitan School.

Antonio Calderara | Abstract / Minimalist painter

- "Contemplation, harmony, proportion, stillness; this is the invisible thread that weave my aspiration" - Antonio Calderara

Self-taught as a child growing up in Milan, and later mentored for a time by a young Lucio Fontana, the earliest influences of Antonio Calderara (1903-1978) were of the figuration and light effects of Piero della Francesca, Seurat and the Milanese Novecento painters.

After abandoning his university studies in engineering in 1925 the young man dedicated himself fully to experimenting with colour and form.