Pair of Maria Theresa Wall Lights Glass Italy 20th Century

Oil painting on canvas. Unidentified signature lower right. The woman is portrayed in a pose that expresses a thoughtful state: sitting on the ground, her eyes closed, her head slightly bowed; behind and around her, fabrics and cushions, to evoke the alcove. The chromatic tones are almost uniform, in the range of beiges - bluish browns, among which even the rosy complexion stands out delicately. The painting has traces of restoration. It is presented in a stylish frame.

Seated dancer

Bronze sculpture. Signed and numbered on the reverse, N. 15/75. The theme of dancers, both sculpted and painted or lithographed, characterized, together with the theme of horses, much of the production of the seventies and eighties of the well-known artist from Messina. Francesco Messina's sculpture, so full of echoes of the classical Greco-Roman and Hellenistic heritage, "it is characterized" wrote Carlo Carrà, by "a simple and grandiose way of doing"and by an "idealistic and classical process"; capable of give life to forms that remain as "ideal images.

Oil on wooden board. Signed lower right. Title and location on the back. Enrico Intraina was a Milanese artist who mainly produced landscapes and glimpses of his places, remaining linked to Lombard Naturalism. The painting is presented in a coeval frame.

Cleopatra's suicide

Oil on canvas applied to hardboard. It is a small copy of the large painting created by Guido Reni between 1635 and 1640, and currently kept in Florence at Palazzo Pitti. The subject, highly represented by the greatest exponent of Bolognese classicism, belongs to his later production, when, in accordance with the more classicist cannons, the figure of the Egyptian queen loses its sensuality to be presented in a very idealized, almost mystical way, with a gaze of the woman facing the sky which could easily be that of any saint by Guido Reni. The well made painting is presented in a period frame.

Landscape with Sheeps and Shepherds

Oil painting on canvas. Signed lower right. An Alpine winter landscape, with sheep drinking from the stream in the middle of the pine forest, rendered with brushstrokes and thick, almost material chromatic mixtures, typical of the painting of Lucia Crotti, an artist from Monza who specialized in landscapes. The work is presented in a frame from the early 1900s.

Roses 1971

Oil on canvas, mounted on plywood. Signed and dated lower right. On the back further signature, date and label with the title. The composition of roses in a vase is created through the use of highly material colour. It is meant to be the presentation of an object of daily life, which inspires the artist's poetics, as it was for all the production of this artist from Brescia. The work is presented in a period frame.

Landscape with Houses 1966

Oil painting on canvas. Signed and dated lower left. It is a glimpse of houses at the entrance to the town, rendered with a marked geometric dimension and a material use of colour, as characteristic of the painter from Gussago (Bs) Eugenio Levi, whose pictorial poetics was always inspired by "things" and places he lived. The work is framed in style.

Flowers in vase 1972

Oil on canvas board. Signed lower left. The composition of some flowers in a simple terracotta vase is characterized by the use of a strongly material colour, typical of the Gussago artist Eugenio Levi. Presented in a stylish frame.

Oil painting on canvas. The great style scene, takes up the pictorial compositions of the seventeenth and eighteenth centuries, the so-called architectural whims, which placed ancient architectural structures, often in ruins, within an Italian landscape animated by popular figures. The same subject is found in this large canvas with a strong decorative impact. It is presented in a stylish frame.

Oil on canvas cardboard. At the bottom right there is an inconsistent attribution signature, and the location Venice. It is a Venetian corner facing the sea, probably overlooking the Giudecca Canal, with a quay crowded with various female figures, dressed in clothes from the first half of the 1900s, perhaps waiting for a boat. A moored gondola can be seen to the left. The work is presented in a coeval frame.

Mixed technique on canvas. Signed lower right. The painting of Kodra, an Albanian painter trained artistically in Italy and active in the Milanese context, consists of a personal interpretation, of a fantastic kind, of Cubism, with the peculiarity that the decompositions typical of analytical cubism are proposed according to an approach of its own more than synthetic cubism. The seascape depicted here, with sailboats sailing close to a coast, is part of the later production, in which the native country is often evoked.