Pair of Appliques - Italy 20th Century

Oil on canvas. Northern European School. Signed Burger and dated 1930 on the lower right. A pleasant genre scene set in the kitchen of a council house, near the large fireplace. A girl sitting with a plate of fruit on her lap listens amusedly and with a feigned indignation to the words of the young man sitting next to her. The painting is presented in a period frame.

The Red Bridge in Venice

Oil on canvas. Signed lower right. On the back, a cartouche from the National Institute of Art with the name "Bepi" Marino and the title of the work. It is a Venetian view, of a bridge called red (like others in Venice) for the color of the bricks of the base. Giuseppe Marino was an artist characterized by a vibrant brushstroke of post-impressionist origin. The work is presented in a period frame.

Oil on canvas. Northern European school of the first half of the 20th century. Signed lower right H. Williams. The landscape offers a glimpse of two chalets in the midst of vegetation rich in trees and foliage, with figures on the path; in the background rise sharp, snow-capped peaks. The painting is presented in a period frame.

Gallant scene

Oil on canvas. Signed both lower and upper left. The scene is set in a rich noble hall, where ladies and knights in eighteenth-century clothes entertain. It is the work of the prolific Neapolitan painter Salvatore Balsamo, who died very young. It is presented in a mid-1900s frame.

Oil on canvas. Signed lower right R. Giffinger. The countryside landscape features a torrent that flows impetuously in the center, passing under the stone bridge that leads to the farmhouse on the right, surrounded by green foliage. The effects of light are emphasized by the use of a rather material color, especially in the foam of the water and the foliage of the trees. The painting is presented in a period frame.

Oil on canvas. Signed H.Cooper lower left and dated 1909. On the back an inscription indicates the location of Bishops' Stortford, in the English county of Hertfordshire. It actually depicts a glimpse of the English countryside, with a rural house on the bank of the river, on which stands a fisherman. The painting is presented in a period frame.

Flowers in Vase

Oil painting on canvas. Signed lower right. The Milanese artist Roberto Borsa stood out for a painting defined as "brilliant and spirited", created in a "very robust and warm" style, in which the impressionist derivation of the search for light effects, however, remains linked to the realist tradition of the late Lombard nineteenth century. The painting is presented in a mid-20th century frame.

Oil on canvas. The large painting features a golden frame with scrolled friezes in the center of a red background, in which a praying Madonna is painted, looking at the productions of the late 17th-early 18th century; the frame is supported on the sides by two golden cherubs, who rest their feet and hands on decorations that are also golden with scrolls, on which are inserted multi-colored leaves and flowers. The painting is pre-realized on two canvases sewn horizontally. The panel is surrounded by trimmings.

The Black Cape 50s-60s

Print on paper. At the bottom the words "Gallery Five PU4/IK - Black Cape by Audrey Beardsley - Printed in England". This is a 1950s-1960s reissue by the London gallery of one of the Art Nouveau illustrations made by Audrey Beardsley for Oscar Wilde's play "Salomé: a tragedy in one act", written in French in 1891 by Oscar Wilde, published in London in English for the first time in 1893 and released the following year with sixteen illustrations by the young artist. Wilde's irreverent genius found full expression in Beardsley's drawings: Beardsley's elegant black and white silhouettes are the exact icon of the style that the designer and writer embodied, that is, the figure of the dandy who elevates himself and his life to a work of art, through an egocentric satisfaction in his own aesthetic refinement. Beardsley's flat, asymmetrical, superficial decorations were in sharp contrast to trompe l'oeil naturalism, to everything that is volume or plastic body, to massive, heavy, overloaded forms, to excess of detail, in short to the taste of the mature Victorian era. The work is presented in a frame.

Oil on canvas. Central European school of the first half of the 20th century. Unidentified signature on the lower left. In a wide valley under sharp mountain peaks, a small lake opens up, on which some houses overlook and boats sail; some common people's figures are busy with daily activities. Pleasant and serene in the green-blue hues of nature. It is presented in a period frame.

Oil on canvas. Central European school of the early 1900s. Unidentified signature on the lower right. The scene is set in a countryside of green hills but with low vegetation, of Nordic style, and depicts a flock of different sheep and cattle resting, while the shepherd hangs his saddlebag on the tree. The painting is presented in a period frame.

Oil on canvas. German school of the mid-20th century. At the bottom right is the signature W. Purschke and the location Munchen. The scene is set inside the study of a high prelate: sitting at his desk he listens to two men who show him a route on a map; at the top left is placed on a shelf a model of a ship: perhaps the bishop is also the owner of the ship, who discusses the next trip with its owner. From the window, closed by a worked grille, you can glimpse the village, with houses with a characteristic Nordic appearance. The painting is presented in a period frame.