Clock Triptych Bronze France XIX Century - France Second half of the 19th century

Penci, charcoal and white lead on paper. Signed E. Bianchi at the bottom left. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait comes in a 19th century wooden frame decorated with leather leafy and floral inserts; it shows small color drops and missing parts.

Pencil, charcoal and white lead on paper. SIgned (Amalia Bianche?) and dated at the bottom right. Very effective is the use of different pigments that creat a play of chiaroscuri underlined by the figures. The portrait come in a 19th century wooden frame that had been embellished with leather floral and leafy inserts. It shows small drops of color and missing parts.

Italy, 1852

White marble sculpture depicting the bust of a girl. On the back engraved signature of the artist and date of production.

Italy Mid 19th century

Group of 4 Louis Philippe corner cupboards in Maple, Italy mid 19th century. Raised shaped and carved in curls, embellished with reserves with perimeter frames; white marble tops, wavy front with glass doors, internal compartments equipped with mercury mirrors. Inlaid with Charles X motifs in walnut and decorated on the uprights with leaf and floral carvings. Changes and replacements.

Landscape with River and Figures

Watercolor on paper. Signed lower right. Giuseppe Gabani, who was a Cavalry officer and participated in many uprisings of the Risorgimento, stood out in particular for his equestrian subjects, battle scenes, orientalism, made with vivacity of color and pictorial emphasis. Here instead we have a delicate watercolor of his, which offers a landscape with a river flowing in the countryside and walking figurines: in Gabani's production there are actually many of these landscapes, calm in colors and rather pervaded by peace and tranquility. In coeval frame.

Oil on cardboard. Delicate portrait of a sober bourgeois woman, with a set of jewels and a delicate lace on the collar to embellish and lighten the black coat. The painting is presented in a coeval tray frame.

Campania Landscape with Figures and Buildings

Oil painting on canvas. Signed lower left. The landscape view offers a glimpse of a village on the slopes of barren rocky peaks, which refer to the Campania hinterland; some polar figures transit on the bridge which gives access to the village. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.

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.

Landscape with Figures and Bread Oven

Oil painting on canvas. Signed lower left. The landscape view shows in the foreground a mountain path that leads to a bread oven, where a woman prepares the bundles of wood for the fire, while a traveler approaches on the back of a donkey; in the valley the viaduct over the river that leads to the village, surmounted by other barren peaks. Micheroux, belonging to the Posillipo school, or the nineteenth-century school of Neapolitan artists dedicated to landscape painting, created several glimpses of the Campania hinterland, but little is left of his production and little is known about his life. The painting has some small drops of color. It is presented in a late 19th century frame.

Episodes from the Life of John the Baptist

Five drawings mixed technique on paper, depicting scenes from the life of St. John the Baptist, as recounted in the Gospels (The Visitation of Mary to Elizabeth, the birth, the Baptism of Jesus, beheading, Salome presents the severed head to Herod). The back label specifies that the designs are copied from the cycle of the Chapel of St. John the Baptist in the famous Basilica of San Lorenzo in Genoa. In the frame.

Oil painting on canvas. Northern European school of the 19th century. This evocative nocturnal view with the full moon illuminating a cemetery, dominated by the large Crucifix on the left and with a bat hovering on the right, fits well into that secular meditation on the theme of the cult of the dead and burial which since the mid-eighteenth century he fascinated Europe, giving rise to an elaboration of a modern concept of cemetery, with the recovery of a dignity - as well as a wholesomeness - of this place. Added to this are the romantic reflections on the man-nature relationship seen as an affirmation of the ineluctable finiteness of the human being as opposed to the infinity that surrounds him; therefore we arrive in painting to represent tombs and cemeteries, symbols of finiteness and transience, always enveloped, almost surrounded by nature, a sign of infinity, of life that continues. As in this work, where the moonlight, which pierces the dark clouds, restores clarity and therefore life to the cemetery. The work, relined and restored, has small drops of colour. It is presented in a late 19th century frame.

Still Life with carpets, jewels, fruit and a mirror

Oil on canvas attributable to Antonio Gianlisi. According to the different depicted objects such as a shirt thrown on an armchair, some jewels, a dressing table with mirror, some fruit and a tray with a pitcher and glasses, the still life could be located in the private room of a rich woman. Restored and relined, presented in an antique coeval frame. 18th century-19th century.