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.

Size 16/18

Black silk crepe long evening dress hand embroidered with beads, side zip fastening, enriched by belt. Wears Italian size 46 (length 150 cm, waist 79 cm). Perfect conditions.

China Qing period (1644-1911)

Porcelain teapot decorated with river landscapes, stylized mountains and ideograms written. Peach shaped lid grip.

Hanging console with wall anchoring, visible drawers and open compartment; maple veneered wood, glass resting on the top.

Unique Size

Rust-coloured silk jersey, completely hand-embroidered with sequins. Condition is almost excellent, except for a few pulled threads. The measurements are: length cm 52, sleeve length cm 63, waist cm 76. The waist is tightened by an elastic band.

Italy Mid 1900s approx

Polychrome painted concrete garden gnome. Engraved signature of the author N. Malerbi.

51 x 24 in

Vintage rug in wool blend.

67x50 In

Vintage rug in wool blend.

Oil painting on canvas. Central European school of the eighteenth century. Under a blue sky, a large, rather barren landscape is depicted, with the edge of a wood opening onto a rocky valley, with a river flowing between the rocks and snow-capped peaks in the background; in the foreground, scattered, some figures of shepherds with their flocks. On the stretcher at the back of the work, a cartouche refers to Poussin, the artist representing seventeenth-century classicism whose pictorial methods inspired the author of the painting. The painting, relined, is presented in a period frame.

134x36 In

Vintage rug in wool blend with long pile.

Venice, Late XIX Century

Corner cupboard in lacquered and gilded wood with four mirrored shelves. Carved decoration with curl and rocaille motifs. Lacquered and painted surface with floral motifs and gilded borders.

Italy 1960s

Polychrome glass sculpture with gold leaf inclusions depicting a group of squirrels on a tree trunk.

Oval doily entirely embroidered in cantù lace Ecru color Small imperfection Cotton composition Dimensions 28 x 63 cm

Burin engravings on copper. Designed by Vincenzo Gazzotto and engraved by Antonio Bernati (1792-1873) in 1833, these are four engravings taken from the figurative repertoire "The costume of all nations and of all times, described and illustrated with an atlas" published by Lodovico Menin between 1833 and 1843. Each panel is numbered in the upper right corner, and bears in the upper center the indication of the geographical region and historical period of the costume scenes depicted. There are costumes: Lombardi sec. IX - X; Lombardi sec. XIV -XV; Tuscans sec. XIII-XIV; Marca Trevigiana sec. XIV. The engravings are presented in wooden frames from the mid-1900s, in an antique style.

Italy, Mid XIX Century

Eclectic frame in carved and gilded wood and pastiglia, Italy mid-19th century. Cymace and frame decorated with leafy, floral, ribbon and marquetterie motifs. Double order of ground mirrors. Shortcomings.

Czechoslovakia 20th Century

Lamp in milky and green crystal with gold decorations and polychrome plant motifs. Drops hanging from the top cup in colorless crystal.

The Showdown

Oil painting on canvas. French school of the 19th century. In the tasty scene, a satirical episode linked to the French revolution is presented: on a carriage that bears on the door the three lilies of France with the initials LR, referring to the royal dynasty (Louis roi?), some people seem to want to leave hastily, while an innkeeper holding the bill tries to get paid, however held back by a guard. At the top left, the sign of the tavern reads "L'agneau a moderé", or "The lamb has moderated", an ironic expression meaning that until then it was tolerated (the regime) thanks to the sacrifice of someone, but the moment of reckoning has now come. Restored and relined, the painting is presented in a period frame.