Table Clock Lèchopiè à Paris Marble Gilded Bronze France 1700s - Watch Support

Veneto, Late XVIII Century

Curved front corner unit with cymatium and single door divided into two reserves. The entire structure is made of cherry with amaranth borders, slatted construction. Fir interior. Veneto Late 18th century

Oil painting on canvas. Southern Italian school of the 17th-18th centuries. The scene, full of characters, sees the figure of a leader standing at the centre, well defined in the details of the armour, the crest, as well as the anatomy: he is benevolently accompanying with the movement of his arms a kneeling man who, together to his companion, he is paying homage to an emperor, however indicating with his outstretched hand the group of six children, held back on the right by soldiers. The emperor has risen from the throne, on the left, and goes to meet the prostrate couple, but he too seems almost in an attitude of reverence towards the central leader. The scene seems to refer to a historical episode of clemency of a leader, who due to his age, features and type of armour, could be Alexander the Great, a character who, however, is difficult to match with the other figure crowned with laurel, who descends from the throne in the sumptuous palace . It is therefore not possible to specifically identify the episode (historical or legendary?) of reference. Furthermore, the compositional richness of the scene is appreciated, with numerous well-detailed figures and bright colors to underline its dynamism. The work, restored and relined, is presented in an antique frame.

Hunting Scene

Oil on canvas. Northern European school of the 18th century. The large scene, set in a Nordic landscape, with thick vegetation under impervious blue peaks, represents the culminating moment of a hunt for a fawn: the knight, who occupies the upper part of the scene, is spearing the prey, terrified and broken down in agony; all around the pack of dogs participates, running around the rider and the prey. Among all, the dog in the center at the bottom stands out, the only one with light fur: the intense brightness that it emanates and which brings out the accurate design of its fur, the moving muscles, the exalted expression of the animal, makes it they make the protagonist of the scene, drawing the gaze towards themselves, while all the other figures, including the knight, become the outline, accurate and precise but not the protagonist. It is precisely the accuracy in painting the animals that places the work close to the production of Philip Peter Roos, known as Rosa da Tivoli: originally from Frankfurt but then moved to Rome, where he remained until his death, this artist was very active above all as a painter of animals, shot in the foreground against landscape backgrounds and executed with rich color and intense light effects. The great success he had and the consequent very large production (sometimes to the detriment of the quality of the works), justify the frequent attribution to this painter of works with a subject and pictorial technique close to his, such as the one presented here, which however is not documented and validated. Restored and relined, the painting is presented in a late 19th century frame.

Cherubs' Game

Oil on canvas. In the depicting scene, three cherubs are play-acting: one of them is wearing a smiling mask and is trying to scare his mate, while the last one is dressed up like a pilgrim. 18th century.

Oil painting on canvas. On the back there is a scroll with an old attribution to Hubert Robert (1733 -1808), a French painter who traveled in Italy bringing back various picturesque views and glimpses, populated by architectural ruins. In this work, the glimpse of a hilly countryside is set in a village with farmhouses and a fountain in the centre, in the midst of which however there are also classical architectural ruins: in the center three columns of a temple, further on the left the ruins of an amphitheater. Several popular figurines wander among the structures. Restored and relined, the painting is presented in a frame.

Oil on canvas. Central European school. The scene, set inside a tavern, depicts a fight between two men, who are held by the other patrons and by the innkeeper; on the table, next to the interrupted lunch, the cards of the game that sparked the quarrel. The whole scene is filled with figures, painted in a raw and almost grotesque way, with very pronounced, almost theatrical expressions and poses, underlined even more by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which started in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in a period frame.

Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.

Gallant Scene and Bucolic Scene

Matching paintings on leather representing a gallant scene and a bucolic scene. Styled frames.

Oil painting on canvas. Northern Italian school of the 18th century. The two lively compositions of variegated flowers are placed one in a copper basin, the other in a basket; they are made with different flowers in the two canvases, although in both they are multicoloured, standing out well against the dark and dark background. Restored and relined, the two paintings are presented in stylish frames.