Vintage Mirror Walnut Veneer Italy 1960s

Mariuccia and Guido

Pencil and marker on paper. Individually signed below. These are two drawings in which the artist, with a continuous line, traces proper names, in a geometric up and down pattern. Bruno Munari, a multifaceted artist who loved playing with movement and light in the search for new imaginative creative solutions, dedicated much of his time to teaching the approach to art, creating both at the Brera Academy and directly in schools , creative art workshops. In this context, one of the activities proposed to the children was to write their own name in a creative way: these drawings express precisely this type of creativity, applied to the names of people they know. The drawings come from the private collection of family and friends and are presented in a frame.

Le Bionnay 1892

Oil painting on canvas. Signed, dated and located lower right. This is a small glimpse of the town of Le Bionnay, located in Haute-Savoie: the damage caused by an avalanche which destroyed one of the village's huts is depicted. The work is presented in a mid-20th century gilded frame (small defects).

Peasant Girl with Hens

Oil on wooden board. Signed lower right. Giuseppe Gheduzzi, an artist born in the family of artists, distinguished himself as a landscape painter but above all for his interiors with figures, stables, antique shops together with fresh orientalist themes and effective seascapes resulting from his frequent stays in Liguria. Shown here is the exterior of a farmhouse, with a female figure feeding the chickens. The painting is presented in a period frame.

In the Sheepfold, 1857

Oil on wooden board. Signed and dated in the center of the left margin. On the back there is a label from an art exhibition held in Sondrio in 1966 and one from the Martina art gallery in Turin. Eugène Verboeckhoven, a Belgian artist, distinguished himself for his paintings of animals, inserted into landscapes or placed in the interiors of stables. He belonged to that school of artists who, starting from the observation of nature, created compositions studied in detail, idealized reproductions of reality. Thanks to his dexterity in depicting animals, many artists called on him to enrich their works with some of his animals and figures. Between 1841 and 1842 he visited Italy, Switzerland and Scotland. The work presented here, an interior of a sheepfold with sheep and chickens scratching around, is presented in a period frame.

The Violin Player

Oil painting on canvas. Signed lower left. The Milanese artist, son of the famous painter Alcide Davide Campestrini, dedicated himself to still life, figure painting and Alpine landscapes, with a technique linked to his father's school and the late nineteenth-century tradition. painting presented in a contemporary frame.

Oil painting on canvas. The large landscape portrays a stretch of wooded countryside, crossed by a stream, near hills. On the path beyond the stream, a small figure of a traveler, walking away. The naturalistic element also dominates in the colors, with a vast range of greens and browns, which are also found in the stream as reflections of the plants. Restored and relined, the painting is presented in a gilded frame from the early 1900s.

Mixed media on cardboard. Portrait of a young woman who appears to be in mourning, both due to her completely black clothing and her sad and understood look. Painted in the style of the early 1900s, a period to which the woman's dress also refers. At the bottom right there is an undeciphered signature. It is presented in a stylish frame.

Oil on cardboard. Suggestive mountain view that frames a rocky and barren peak, surmounted by a few pines towering in the centre; on the rocky spur a very small human figure is outlined, contemplating the landscape; in the background the snow-capped peaks, which fade into the sky. The painting is presented in a contemporary frame.

Oil painting on canvas. The scene is set inside a popular farmhouse: in front of the large fireplace, where a large pot is boiling above the fire, a woman sits with a child in her arms, while two other women wait on the threshold looking out, with the plate in their hands, and another child eats his soup sitting on no stool. The scene is dominated by earthy colours, with a single glimpse of light entering from the threshold, framing a blue-white sky. The painting is presented in a contemporary gilded frame.

Mixed technique (pencil, pen, brown ink and white chalk) on paper. Italian school of the early 19th century. The scene represents the meeting between a high priest and a leader: if he is followed by his entire army, with grim and armed soldiers of different ranks, the priest is followed by all the people who praise the winner, while two young women on their knees they offer wreaths of flowers. Behind the scene, the mighty walls with the entrance door to a city, towards which the priest points, almost as if handing it over to the leader. The priest's clothing, in particular the presence of the so-called "Decision" breastplate that he wears, refers to an Israelite priest, and therefore the city could be Jerusalem; instead the clothing of the victorious leader, with the helmet surmounted by two horses, refers to Alexander the Great, who actually conquered the city in 332 BC. The drawing is presented in a carved wooden frame from the late 19th century.

Oil painting on canvas. The large scene depicts Mary, already Assumption into heaven and supported on the clouds by little angels, receiving the Crown from the Holy Trinity. This coronation expresses the apotheosis of Mary, who by becoming "Queen of Heaven" becomes the intermediary between the earth, Humanity, and Heaven, the Divinity: what is not given to man to see becomes possible through Mary who in this glorification is more than ever the tenacious thread that binds us to the Almighty, the true "gate of heaven", as it is defined by the Fathers of the Church. Restored and relined, the painting is presented in an early 20th century frame.