Antique Sculpture Religious Subject A. Merente Bronze Italy XX Century - Italy, Early XX Century

Flemish School of the 17th century. Oil on panel. The penitent saint is recognizable by her attributes, the ointment jar, the book and the skull. Signed "VD Werff" on the bottom left. Sealing wax export stamp from the 19th century on the back. There are longitudinal cracks in the panel. Presented in a late 19th century gilded frame

Tempera on wooden panel, Russian school of the late 18th/early 19th century. Saint John the Forerunner is represented here with the Holy Chalice. Slight loss of color

The Ancient Baptistery of Gravedona

Pencil and watercolor on paper. Signed lower left. Of the same subject but with characters, there is a version on canvas by the Milanese artist, preserved in the civic Raccolta d'arte Museo dell'Ottocento of Villa Belgioioso Bonaparte, in Milan. Luigi Bisi specialized in interior views of churches in Lombardy, with a predilection for the Milan Cathedral. The work is presented in a frame.

Male Statue Mid 19th Century

Herm of a young man depicted in the Roman style, according to the classical taste in vogue until the mid-19th century. Made of white Carrara marble.

Glimpse of Verona

Mixed technique on cardboard, ink, watercolour and white lead, signed lower left, presented in a gilded frame in style

Interior with Stove 1946

Oil on canvas. Signed and dated lower right. The work belongs to the first period of the Florentine artist, still close to the figurative before dedicating himself definitively to Abstractionism, in particular to classical Abstractionism, of whose Manifesto of 1950 he was one of the signatories. The work is influenced by post-cubism, in the representation of a figurative subject, not broken down as in cubism, but highlighted and emphasized in simple geometric lines, variously composed, in intersection, oriented in various ways, which refer to recognizable objects but depicted not as copies of reality but as formal concepts. The work is presented in a frame.

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Suspension Study 1992

Mixed media on paper. Title but readable at the bottom; on the back the artist's stamp with signature, date and title (Pour poissons - Studio sospeso). Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Vis à Vis 1963

Mixed media (marker, watercolor) on paper. signed and dated lower right. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in visual arts, loving to experiment with all the avant-gardes of his century. Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of daily life in Paris, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau revealed himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors, human weaknesses. The theme of the face, or rather of faces, often two profiles facing each other, vis à vis, recurs in his pictorial production. In 1962 the artist completed the construction of the open-air theatre in Cap d'Ail, on the French Mediterranean coast, whose flooring is decorated with this subject, two faces with a Greek profile facing each other, with an eye in between; the subject was then re-proposed by him in the following period - moreover the one imminent to his sudden death -, with different variations. In the drawing presented here we find the two Greek profiles, separated by the third eye but also by two twisted snakes, while in the drawing of the theatre we find leaves. The work is presented in a frame.

Oil on canvas. Northern European school, early 1900s. Unidentified signature on the lower right. The landscape represents a glimpse of uncultivated countryside, with patches of vegetation, meadows full of heather, crossed by a path that leads towards the nearby hills, passing next to a stable. The work has a small cut at the top center. It is presented in a frame.

The Joys of Mother

Oil on canvas. Early 1900s. The painting reproduces in rather detail the work of the same name painted in 1866 ca. by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, often joyful despite poverty, because it is devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his were so successful with the bourgeoisie of the time that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happy and amused: in this scene set in a poor room, a woman sitting spinning, looks smiling tenderly amused at her two little children, the eldest who, standing, steals the pacifier from the little one lying on the floor on a bed of blankets, who stretches out his little hands towards his object of pleasure. The work, in the first canvas, is presented in a carved and gilded wooden frame from the late 19th century.