Ancient Temple Shaped Clock Mid '800 Wood Gilded Bronze Decorations - Europe First Half 19th Century

Austria, Late XIX Century

Corner dressing table with psychedelic mirror, maple structure, under-counter drawer, uprights and turned legs. Bronzes added later. Austria late 19th century

Maria Dolente

Marble bas-relief. Engraved signature along the left margin. Born in Cannobbio (on Lake Maggiore), Giulio Branca was introduced to the art by the Cannobio sculptor Bergonzoli, and later attended G. Strazza's school of nude drawing and sculpture at the Brera Academy. Born in Cannobio on 13 December 1850 to Ludovico, he was introduced to art by the Cannobio sculptor Bergonzoli, and attended the school of the nude and G. Strazza's school of sculpture at the Brera Academy. He made about four hundred sculptures, including memorials, funerary monuments and portrait busts. Branca also took part, following a competition, in the completion of the high wall of the cathedral of Como, which had remained unfinished for centuries, sculpting several figures in white marble for the façade and the altar between 1897 and 1900. The work presented here is a bas-relief showing a half-bust of the grieving Madonna flanked by two pious women. It is presented in a coeval wooden frame from the end of the 19th and beginning of the 20th century.

Italy late 19th century

Female bust and liberty column in white statuary marble, Italy, late 19th century. Bust in old-fashioned dress with floral elements placed on the chest; column decorated with ivy that descends transversely from the supporting surface.

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.

Portrait of a young girl in marble placed on a grey marble column, depicting a young girl cloaked in the winter cold. The different processes used give variety in the rendition of the marble. On the back of the bust, “F. Andreini Florence 1894" is engraved.

19th Century marble sculpture representing a roman matron; the figure stands on the left leg and is wearing a long robe that leaves her breast free; the left arm is hidden by the cloth and is folted while in the opposite hand she is holding a corrispondence. Her face is austere with a pointed chin; her hair har divided by a central parting and collected in a bun behind her head.

The bust portrays a noble woman, richly dressed. Certainly a portrait, as can be seen from the detailed physiognomic characteristics of the face; the depicted subject has a stern gaze and attitude, an element that characterizes the portrait sculpures of the time. The hair are tied on the back of her head in an elaborate hairstyle with braids. The neck is adorned with a necklace with a medallion in the centre and multiple strings of pearls. She is wearing an off-the-shoulder dress, refined with a thin lace hem and a bow in the middle of her chest. The sculptor has great skills with the use of a chisel to refine details and the texture of fabrics.

Oil painting on canvas. Northern Italian school of the 17th-18th centuries. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame. The scene shows the clash between knights outside the walls of a besieged city, with the smoke of firearms invading the sky. Restored and relined, the painting is presented in an adapted antique frame.

China Qing Era 19th Century

Pair of enamelled porcelain vases in a beautiful turquoise color with streaks of aquamarine. With a square section, the vases have a delicate decoration engraved with flowering plants on each side, framed by a continuous band of plant racemes. China Qing era 19th century.

The Announcement of Defeat at Waterloo

Oil painting on canvas. French school of the 19th century. The scene, set in the poor bedroom of an elderly war veteran, who is crying in his bed, sees his family telling him the sad news of the defeat at Waterloo, as can be deduced from the sheet of newspaper in the woman's hands, on which the name of the historic location where Napoleon Bonaparte was definitively defeated. The canvas shows signs of previous restorations, in particular the patch corresponding to the female figure is clearly visible. It is presented in an early 20th century setting.

Oil painting on canvas. Spanish school of the late 18th century. The biblical episode narrated in the book of Exodus is told in which little Moses, to escape the massacre of the children of Israel ordered by Pharaoh, is left by his mother in a basket on the banks of the Nile, where Pharaoh's daughter went to bathe . Having found him, she decided to save him and then raised him as a son at her court. The episode has been widely used as a pictorial subject, due to the suggestion of the theme: the scene full of characters sees in the center the princess daughter of the Pharaoh of Egypt, surrounded by all her entourage, who looks and welcomes with the gesture of the hand tense little Moses, who takes it from the basket on the left, leans hungrily towards the breast of the woman behind him, the nurse ready to breastfeed him. The scene is placed in a Nordic landscape contemporary with the painting, just as the figures wear 18th century clothes, except for the princess who sports an oriental-style headdress with a diadem. Her figure stands out for the bright color of the dress, just as the rosy complexion of the naked child stands out, which imposes itself on the duller and darker colors of the women in the entourage. The painting has been restored and relined.