Psyche Brothers Youf - Lucca, second half of the 1910s

Oil on canvas. Venetian school of the 18th century. Large landscape of pre-Alpine hills, crossed by a stream that reaches the mill in the right foreground, while numerous figures of commoners animate the path that leads to the building, busy with various occupations; in particular, in the center foreground, the two fishermen with their nets stand out. Formerly attributed to Giuseppe Zais (1709 -1784), a Venetian painter who became famous for his large landscapes animated by figures, characterized by an airy luminosity and a care in the description of nature. Restored and relined, the painting is presented in an early 20th century frame.

Carved and Gilded Display Cabinet, XIX Century

Rococo style display table from the end of the 19th century. Carved in rocaille and completely gilded, it has four Louis XV legs that support a top in a structure of wavy and carved frames that accommodate beveled and engraved glass, both in the top and in the bands, where the glass doors open to act as support shelves; inside, red velvet lining. This type of table was born at the end of the 19th century, they are functional furnishings, mainly used to contain bottles and glasses for bars or collections of objects.

France, XX Century

Glass fused table lamp, Gallè style. France, 20th century.

France, Late XVIII-Early XIX Century

Pair of Directoire armchairs in cherry, stamped “F: Geny”, French cabinetmaker active under Louis XVI. They have a shaped and carved open back, sabre-shaped rear legs and an upholstered seat. One armchair was reinforced later. France, late 18th, early 19th century.

Italy, Late XIX Century

Walnut armchair from the Umbertine period, made of carved and turned walnut.

England, Late XIX Century

Accessories for R. & J. Beck binocular compound microscope. The special wooden container shows the lack of some parts.

Female Figure

Watercolor on paper. Artist's monogram top left. Tranquillo Cremona, after an initial period close to romantic painting, from 1870 onwards distanced himself from the influences of Francesco Hayez and adopted a painting style with indefinite contours, developing the concept of "macchia scapigliata" together with his friend Daniele Ranzoni: after an initial intervention with brushes, he refined the works with his fingers to blend, using all his fingers to make his paintings as vaporous as possible. This technique (which cost him his life due to lead poisoning caused by repeated contact with the skin of the colors) was compared by Camillo Boito to the views of the magic lantern, when the right focus of the lens had not yet been found: the image is already distinguishable, but is immersed in an almost gaseous vapor. The subjects of Tranquillo Cremona's works were always human figures, present in the historical-literary scenes of the romantic period, as in the portraits and genre scenes of the scapigliata phase; his subjects were taken from everyday life, in its simplicity and spontaneous immediacy, like this female figure intent on her toilette. The work is presented in a late 19th century frame.

Confidences

Watercolor on paper. Artist's monogram top left. Tranquillo Cremona, after an initial period close to romantic painting, from 1870 onwards distanced himself from the influences of Francesco Hayez and adopted a painting style with indefinite contours, developing the concept of "macchia scapigliata" together with his friend Daniele Ranzoni: after an initial intervention with brushes, he refined the works with his fingers to blend, using all his fingers to make his paintings as vaporous as possible. This technique (which cost him his life due to lead poisoning caused by repeated contact with the skin of the colors) was compared by Camillo Boito to the views of the magic lantern, when the right focus of the lens had not yet been found: the image is already distinguishable, but is immersed in an almost gaseous vapor. The subjects of Tranquillo Cremona's works were always human figures, present in the historical-literary scenes of the romantic period, as in the portraits and genre scenes of the scapigliata phase; his subjects were taken from everyday life, in its simplicity and spontaneous immediacy, like these three female figures depicted in a moment of confidential and intimate conversation between friends. The work is presented in a late 19th century frame.

Argentina, Late XIX Century

Large mahogany wall clock, made for a railway station, a hall in a public building or a bank. Enriched with floral carvings, scrolls and festoons, a cymatium culminating with a central vase. Round dial. Missing parts. Argentina, late 19th century.

Italy, XIX Century

Louis Philippe armchair in walnut, leaf carvings and scrolls in the armrests, wavy rear legs and turned front legs, culminating with brass cups and casters. Padded back, armrests and seat. Reclining backrest via rack mechanism controlled by the armrests. Italy, 19th century.

Italy, Late XIX Century

Neo-Baroque walnut cupboard, richly carved. Base with pair of drawers in the band below the top and paneled and carved doors, upper part with colored glass doors culminating in a carved frieze depicting a pair of dragons and a fruit basket. Italy, late 19th century.

Switzerland, XVIII-XIX Century

Neuchateloise pendulum clock in ebonized wood with plant motif decorations and gilded parts. Enamelled metal dial with Roman numeral hours and Arabic numeral minutes. Finely perforated bronze hands. Complete with winding keys.