Table Clock Gilded Bronze France XIX Century - France Second Quarter 19th Century

Oil on the table. The picturesque landscape has a wide path in the foreground on the right which winds between fronds and green meadows, where flocks graze; a small family of peasants passes along the path, all engaged in the transport of goods: even the girl carries a large bundle on her head, while the mother carries the basket with her newborn son in the same way! In the background, the plain extends wide to fade towards the distant hills and into the clear and rarefied sky, which gives off an almost pink light. The fir table of the painting has undergone restoration and parqueting. The work is presented in a mid-1900s frame.

Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.

Paintings under glass, on a convex glass surface. The two oval paintings offer landscapes enlivened by figurines of people intent on various activities: in one the setting is in the mountains, with small chalets below by the stream and below rocky peaks; in the other instead at night, a placid river flows near wooded banks, illuminated by the full moon. The paintings are presented in contemporary gilded frames, to be restored due to deficiencies.

Pencil on paper. Good use of the hatching and chiaroscuro are shown in this portrait of a young woman. The portrait comes with a 19th century wooden frame that had beeen embellished with leafy and floral leather inserts; the frame has some color drops and some missing parts.

Pencil, charcoal and white lead on paper. Signed (Amalia Bianchi?) and dated at the bottom right. Very effective is the use of different pigments that creates a play of chiaroscuri that underlines the figure. The portrait come in a 19th century wooden frame with leather leafy and floral inserts; it has missing parts and color drops.

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 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.

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.