Quadro Anni 60

France, Third Quarter XIX Century

Napoleon III chandelier with eighteen lights arranged in a double order, France, third quarter of the 19th century. Structure in gilded bronze, characterized in the central shaft by the presence of parts in green glazed ceramic; the golden bronze is characterized by the alternation of highlighted portions with opaque portions, thus creating reflections that amplify its brightness. On a decorative level, eclecticism dominates, finding both elements of clear rococo taste, particularly in the moving structure composed of curls, leafy volutes and ornamental motifs with a calligraphic character, and elements derived from the classical world, such as floral festoons, rosettes, capitals and masks. At the apex, placed on a bed of sloping leaves, a pineapple. Bobeches in cut crystal, one of which has been replaced and others are broken. It has defects in the gilding.

Mountain Landscape

Oil painting on canvas. Signed lower left. The Milanese painter Gino Federici specialized in Alpine views, as in this view, where in the foreground a flock of sheep drinks water from a stream, in the wide valley, under steep peaks. The painting is presented in a contemporary frame. It shows signs of previous restoration.

Europe, Early XIX Century

Pair of carved and gilded wooden candelabra with repeated motif decorations, flowered festoons, pods and grooves.

Ceiling lamp with 3 pendants in colored glass and teak wood.

Interior of Stable, 1889

Oil on hardboard. Signed and dated 11-30-1889 lower left. Delleani, who initially painted mainly historical subjects, progressively approached landscape painting "en plein air", especially of the places of his origins, the Piedmontese valleys, characterizing his views with chromatic vibrations and warm brightness. In the last decades of his life, however, he also allowed himself to be involved in the orientalist trend, but then returned to his landscape views, creating above all panels rich in warm colors and suggestive atmospheres. Rarer but equally evocative is his production of interiors, such as this one of a stable, where the animated figures, the sheep, appear as almost indistinct spots of color within an environment played entirely on the luminous effects of a single chromatic range. Restored and protected, the painting is presented in a gilded frame from the early 1900s.

Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.