Vintage Hallway Furniture Italy 1960's-1970's

Oil on canvas mounted on panel. The three figures are depicted only in the upper part, highlighting their faces: in the center, Mary with the baby Jesus, on whom the work's light is focused; both are looking toward the baby John, recognizable by his iconographic symbols (the staff surmounted by the Cross and the animal skin covering him), who, more in shadow in the lower right corner, receives Christ's blessing. The painting is presented in an early 20th-century frame.

Oil on canvas. Signed and dated lower right. Crescent-shaped, originally intended as a panel above a door, the canvas features a pleasant yet melancholic composition of loose roses arranged on a raised painted surface. The work is presented in a period frame.

Oil on canvas. Signed A. Dronsart at the bottom left. A delicate composition of roses in a vase, in soft, pale hues that play on nuanced effects. Presented in a contemporary gilded frame.

Figure with Flowers

Oil on canvas. Signed lower left. Additional signature, stamp, and declaration of authenticity on the back. Influenced by Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palettes, typically cool tones of blue, green, and purple, creating sometimes stark contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. Framed.

Still Life with Clock and Fruit

Oil on hardboard. Signed lower left. The Milanese artist, son of the famous painter Alcide Davide Campestrini, devoted himself to still life, figure painting, and Alpine landscapes, using a technique rooted in his father's school and the late 19th-century tradition. Typical of his work is the composition presented here, which juxtaposes scattered fruit—in this case, oranges and grapes—with an elegant, antique table clock. The painting is presented in a contemporary frame (1960s-1970s).

In my Studio 1943

Oil on panel. Unsigned, the painting bears the label of the Giotto Sacchetti retrospective, held from June 26 to July 16, 1967, on the back, where this work was exhibited under the catalogue number 51. The work appears in the monograph published in 1967 (plate XXVIII). Giotto Sacchetti painted reality, "Truth" with a keen and sensitive spirit of observation, through the careful analysis of nature perpetuated through strongly constructive brushstrokes of clear Tuscan influence. This work features a view of his studio, a large vase of peach blossoms. Framed.

Oil on canvas. Signed lower right. Magdalene, depicted nude with long, loose hair, is portrayed in a contemplative pose: seated in the desert on a stone, reading the Bible with the skull beside her (as per traditional iconography), she is visited by an angel who supports her in her ecstatic impulse, as she reaches toward the sky, which fades into the cloud. The painting is presented in a contemporary frame.

Figure with Flowers

Oil on canvas. Signed lower left. Additional signature, stamp, and declaration of authenticity on the back. Influenced by Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palettes, typically cool tones of blue, green, and purple, creating sometimes stark contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. Framed.

Mad Cow

Indian ink on paper. Signed at the bottom; title at the top. The work is accompanied by a photo certificate from the Galleria Pace in Milan. A sculptor, engraver, and medallist, Minguzzi also created numerous drawings, often sketches for sculptures. The drawing is presented in a frame.

Oil on canvas. Trace of signature at the bottom. In a romantic vein, the painting depicts a small girl tenderly leaning on her large dog, with whom she exchanges a tender glance. The background is a garden, with a sky fading into the light of the distant sunset. The painting shows signs of previous restoration and relining. It is presented in an early 20th-century gilded frame.

Color lithographs. Painter and illustrator Marcus C. Stone made a name for himself with his soulful portraits and literary scenes. These two lithographs depict scenes set in the gardens of elegant villas, one depicting two couples engaged in romantic conversation, the other enjoying a tea ceremony. The two prints are presented in elegant contemporary gilded wood and fabric frames.

Portrait of a Lady, 1892

Oil on canvas. Signed and dated lower right. French artist André Chabellard made a name for himself as a portrait painter, both popular and noble. His figures are set in well-defined settings, as in this portrait of a lady seated in her beautifully furnished living room. The execution is remarkable, with chromatic effects and light and shadow that highlight the figure in the foreground and blend into the surrounding elements. The work is presented in a mid-20th-century gilded frame (slight losses on the left).