Table Clock Marble France XIX Century

Austria, Late XIX Century

Corner dressing table with psychedelic mirror, maple structure, under-counter drawer, uprights and turned legs. Bronzes added later. Austria late 19th century

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.

England, Early XIX Century

Hanging corner unit in mahogany with front with two framed doors with larger panels in the upper part and smaller in the lower part threaded and inlaid with small details in maple concealing internal shelves and small drawers on the bottom. Born as a corner cupboard later divided. Missing locks. England early 19th 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. 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

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.

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. 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.