Ancient Flap Cabinet Italy '900 Walnut Exotic Wood Inlays Drawers - Italy, Early XX Century

Watercolor on paper. In the foreground, as if it were a portrait, the girl looks out from behind a curtain, with which she covers her nakedness, while behind her on the right, the open faucet of a bathtub can be glimpsed. The portrait is placed in a coeval gilded wooden frame, surmounted by a decoration in the shape of a love knot with leaves, and further decorations along the entire edge, with floral motifs and a crown of pearls. The gilding has defects in some places. On the back there is a paper label from the well-known Badi Michele frame factory in Genoa.

Italy 20th-21st Century

Pitcher in podded and hand hammered silver. Under the base engraved silver and silversmith's mark. 750 grams.

Untitled 1969

Ink on paper. Signed and dated lower right. Accompanied by authentication on photo for the Marconi Gallery in Milan, and stamp of the JAPF Archive. with N. 112. From the beginning, Gianfranco Pardi's artistic research has been based on space and constructive planning that gives life to works of great formal rigor, characterized by the integration of drawing, painting and sculpture in a spatial dimension of breath architectural. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments. The study is presented in a frame.

Study for Sculpture 1969

Ink on paper. Signed and dated lower right. Accompanied by authentication on photo for the Marconi Gallery in Milan, and stamp of the JAPF Archive. with N. 114. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning that gives life to works of great formal rigor, characterized by the integration of drawing, painting and sculpture in a spatial dimension of breath architectural. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments. The study is presented in a frame.

Untitled Study 1969

Ink on paper. Signed and dated lower right. Accompanied by photo authentication for the Marconi Gallery in Milan, and JAPF Archive stamp. with N. 111. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning that gives life to works of great formal rigor, characterized by the integration of drawing, painting and sculpture in a spatial dimension of breath architectural. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments. The study is presented in a frame.

Untitled 1969

Ink on paper. Signed and dated lower right. Accompanied by photo authentication for the Marconi Gallery in Milan, and JAPF Archive stamp. with N. 113. From the outset, Gianfranco Pardi's artistic research has been based on space and constructive planning that gives life to works of great formal rigor, characterized by the integration of drawing, painting and sculpture in a spatial dimension of breath architectural. Starting from rigorous planning, the artist reveals the dynamics and relationships of form and matter: imaginary architectural interiors, rigidly geometric or biomorphic sculptures, marriages of architectural constructions and natural environments. The study is presented in a frame.

France Late 1800s

Majolica plate with plant motif decorations along the brim and flower basket in the center of the hollow.

Watercolor on paper. In the foreground, as if it were a portrait, a naked girl looks out among the green fronds that surround a small waterfall; a swallow rests on his open hand. The portrait is placed in a coeval gilded wooden frame, surmounted by a decoration in the shape of a love knot with leaves, and further decorations along the entire edge, with floral motifs and a crown of pearls. The gilding has defects in some places. On the back there is a paper label from the well-known Badi Michele frame factory in Genoa.

England First Quarter XVIII Century

925 sterling silver tankard with mixtilinear handle, scroll thumb, domed lid and reeded belt. Terraced pedestal. Silver hallmarks engraved under the edge. 790 grams.

The Euphoria 1976

Oil (mixed) on canvas. Signed and dated lower right. Further signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter who was a pupil of Gennaro Villani and later a friend and collaborator of Umberto Lilloni, participated with his own personal style in the renewal of Neapolitan painting, without straying from tradition. Endowed with fertile invention and remarkable representative capacity, he left behind a rich and varied production. Landscape or urban views are recurring in his production, populated by numerous figures, often, in the Neapolitan setting, by Pulcinella, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall. In this work the Pulcinellas dance playfully and wildly with the women, in a party of colour. The work is presented in a frame.

Road to Cervasca 1981

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Giovanni Balansino presents a glimpse of a country road near a village that he identifies in Cervasca, a small mountain town in the Cuneo area, animated by two barely sketched figurines that blend into the natural environment, due to the overlapping of the applied colors with rapid brush strokes and undefined contours. The work is presented in a frame.