Flowers

Oil on hardboard. Signed lower right. On the back there is a paper label with the data of the work. A beautiful bouquet of daisies fills a vase, placed in front of a drapery that creates a play of white and green colors. The painting is presented in a beautiful 1950s frame, box-like with a raised gilt edge.

Composition of Flowers and Fruits 1959

Oil on the table. Signed and dated lower right. Colorful flowers in a white vase, and some fruit scattered across the table, are rendered with large, overlapping brushstrokes, in bright colors on a light background to create a bright and vibrant effect. Teonesto Deabate was a Turin artist who devoted himself not only to painting, but also to other forms of applied art: ceramics, interior decoration, illustration. His pictorial production belongs above all to the post-war period and is made up of landscapes, still lifes but also figures, made in watercolor oil: in it the search for light-color relationships is fundamental, to create sensations of finesse and sensitivity through subtle tonal combinations and elegant arabesques. The work is presented in a frame.

Poppies in Vase 1948

Oil on canvas. Signed and dated lower left. Composition of poppies in vase, with ceramic Madonnina on the rear wall. Noel Quintavalle (known under the pseudonym Noelqui), a native of Ferrara but raised and artistically trained in Milan, was a multifaceted artist. Graduated in architecture, he was self-taught in the arts, but after the great war in which he actively participated, he quickly distinguished himself and exhibited in numerous national and international exhibitions; in the meantime he also carried out literary activities by publishing various volumes (satire, fairy tales, short memories of the war) and also experimented with sculpture and xylography. His pictorial production, which began as a pointillist, was then influenced by the synthesis of modern painting. The subjects most dear to him were the portrait (with a preference for particular female figures, such as dancers) and the landscape. His production of floral subjects dates back to the 1940s, linked to the period in which he recovered the need for interiority, approaching the aesthetic concepts of the art of the "twentieth century". The work is presented in a contemporary frame.

Oil on canvas. The floral composition is part of the large production of this subject that spread in Italy and Europe starting from the seventeenth century, with purely decorative purposes. The painting proposed here has traces of previous restorations and has been relined, but needs further cleaning. It is presented in an antique relacquered frame.

Oil on the table. Italian school of the second half of the 19th century. The painting, a garland of multicolored and variegated flowers, effectively takes up the pictorial ways of the seventeenth century. The wood has large openings and cuts at the joints of the boards. The painting is presented in a gilded frame from the early 1900s.

Oil on canvas. The large composition, intended as a decoration with a trompe l'oeil effect, shows a vase overflowing with a cascade of colourful flowers, that stands on a ledge, behind which you can see some architectural elements in the background, some capitals of half columns. The painting underwent some reparative restorations for some paint losses. It is presented in a frame in style.

Tapestry

Tapestry, made with very fine sewing. On the bottom right is the signature P. Sacchi with the date of production 1949. The work proposes a floral composition in a vase, characterised by a rich variety of flowers. Coeval frame.

Vase of Flowers 1956

Oil on plywood. Signed and dated lower left. The Piedmontese painter Emilio Vacchetti devoted himself mainly to flower arrangements in vases and landscapes, glimpses of the Piedmontese mountains. The work in warm and shaded colors is presented in a frame

Flowers 1929

Oil on canvas. Signed and dated 1929 at the bottom right. Vivid composition of colorful chrysanthemums. Tuscan artist Luigi Bini was a painter, ceramist and sculptor who did not feel bound to traditional techniques but loved to experiment with new ones. His paintings, which include portraits and figure studies, were mainly done in pastel and tempera in order to achieve lively and soft colour transitions through broad brush strokes. The work is presented in a revival frame.

Oil on cardboard. Unidentified signature lower left, dated 1947. Lively composition of multicolored chrysanthemums, whose colors in the yellow-red ranges contrast well with the blue of the vase and stand out against an indefinite blue background. The painting is presented in a coeval frame, with shortcomings.

Vase of Flowers 1949

Oil painting on canvas. Signed and dated lower left. Composition of pink flowers in a vase, which is reflected in the rear mirror. Noel Quintavalle (known under the pseudonym Noelqui), a native of Ferrara but raised and artistically trained in Milan, was a multifaceted artist. Graduated in architecture, he was self-taught in the arts, but after the great war in which he actively participated, he quickly distinguished himself and exhibited in numerous national and international exhibitions; in the meantime he also carried out literary activities by publishing various volumes (satire, fairy tales, short memories of the war) and also experimented with sculpture and xylography. His pictorial production, which began as a pointillist, was then influenced by the synthesis of modern painting. The subjects most dear to him were the portrait (with a preference for particular female figures, such as dancers) and the landscape. His production of floral subjects dates back to the 1940s, linked to the period in which he recovered the need for interiority, approaching the aesthetic concepts of the art of the "twentieth century". The work is presented in a contemporary frame.

Oil painting on canvas. Undecrypted signature lower right. Eastern European school, perhaps Hungarian. A bouquet of pink and white carnations in a glass vase is placed, together with a mirror and a gilded metal storage bowl, on a surface covered and surrounded by blue velvet draperies. The painting is presented in a contemporary relacquered frame.

Flowers in vase with book

Oil on hardboard. Signed lower right. On the back there is a paper label with the data of the work. A beautiful bouquet of colorful and variegated wildflowers is arranged in a vase, in front of which an open book is placed. The painting is presented in a beautiful 1950s frame, box-like with a raised gilt edge.

Oil on canvas. Lombard school of the nineteenth century. The composition offers a bouquet of colorful flowers that emerge from a straw hat placed on the ground, while, resting on a capital, a cascade of green branches with red flowers emerges from another vase. In the background, a barren landscape, with mountains in the distance, while the blue sky is invaded by gray clouds. The unsigned work is very close to the manner of Luigi Scrosati (1814-1869), the Milanese painter who distinguished himself for the depictions of floral still lifes. The painting is presented in a beautiful coeval gilded frame, in wood and tablet modeled with friezes.

Oil on canvas. Lombard school of the nineteenth century. The vase composition presents a bunch of variegated flowers in delicate pastel colors, flanked by a thin and elegant blue glass vase containing a single iris; the vases rest on an elegant wooden console with mirror that frames the composition. The unsigned work is very close to the manner of Luigi Scrosati (1814-1869), the Milanese painter who distinguished himself for the depictions of floral still lifes. The painting is presented in a beautiful coeval gilded frame, in wood and tablet modeled with friezes.