Flap Cabinet Walnut Ebony Europe XIX Century

Oil painting on canvas. At the bottom left there are the two initials AC, perhaps followed by an illegible surname. The Saint, framed by a rich curtain, is identified as Cecilia by the presence of the organ, an instrument she played and which had her erected as patroness of music; she is richly dressed for her wealthy Roman status and holds the palm of martyrdom. The painting has small drops of color and stains. It is presented in a mid-1900s frame.

Italy First Half of the 19th Century

Finely engraved and perforated silver oil cruet with Greek fret, torchon and gargoyle decorations. The cruet is supported by four feral-shaped feet and has a top grip with specular swans. Silver hallmarks engraved with initials BZ, probably initials of the silversmith. 675 grams. Ground glass ampoules.

Northern Italy c.1880

Steelyard balance in solid iron and bronze. Capacity 40 kg extendable to 120 kg. On the weights and on the graduated rod presence of stamps. The weighing plate is missing.

Oil on tablet. Signed lower right. These are three small paintings proposing landscape glimpses, made in the naturalistic style typical of Lorenzo Gignous: the two lateral ones, measuring 24 x 30 cm, propose the most recurring subject in the Lombard artist's production, i.e. glimpses of Lake Maggiore, animated by fishing boats; in the center a smaller landscape (18 x 25 cm) with a group of trees in the countryside. The three small paintings are presented in a single coeval frame.

Italy 19th Century

Group of three shelves in carved, gilded and faux marble lacquered wood. Plant motif decorations.

Concept of a Young Figure

Mixed technique on paper; drawing cut out and applied on cardboard. Signed lower right. It is a small study, probably to be included in a larger scene, of the figure of a child carrying a basket of vegetables on his head, still undefined but sketched with traces of green; the boy is dressed only in a short shirt. Neapolitan painter, but also museologist and teacher of figurative arts, Dalbono trained in the Neapolitan verismo movement which referred to the School of Resina. He loved the landscape, which he portrayed from life, preferring the hours of dawn with its play of light; but he also produced many genre scenes, with popular bourgeois subjects, animated by different figures and always with Naples as a background, its views and its landscapes, told with suffused atmospheres, full of poetry. The painting is presented in a period frame.

Forest landscape

Oil on cardboard. Signed lower right. After an initial period dedicated to music, Francesco Sartorelli chose the path of painting, forming himself as an autodidact. Landscape painter, initially of the traditional type, he then approached divisionist painting, finally arriving at defining his own style made up of fluid and loose brushstrokes. This glimpse of the woods is proposed in the latter style, with brushstrokes of color playing on autumnal hues, which spread fluidly and quickly. The work is presented in a gilded frame in style.

France, First Half of the XIX Century

Cream mug with saucer decorated in gold on a blue background. In the reserve polychrome decoration with plant motifs. Fruit-shaped lid grip and twisted branch handle of the cup.

Europe, 1880 ca.

Porcelain service in the manner of Ginori in Doccia with gold decorations and blue borders. Initials on each piece. Service comprising sugar bowl, milk jug and eight cups with saucers.

Italy, Late XIX Century

Group of ten saucers in polychrome majolica, mixtilinear rim profiled in brown, centred by a figural motif indicated in the inventory documents with the description villages and figures in enamel, with birds and insects. Late 19th-century reproductions by the Felice Clerici Milan manufactory.

Europe, First Half of the XIX Century

Porcelain nursery cup with polychrome chinoiserie decoration, European manufacture probably England, with mark imitating oriental marks.