Anique Archer and Deer Vase Marcel Goupy Glass Paris 1925-28 - Marcel Goupy, Paris 1925-28 ca.

Ferrara, Mid XVIII Century

Baroque sideboard made in Ferrara supported by cabriole feet, has a wavy front in which there are pairs of doors and drawers in the band: a large central one and two smaller lateral ones; the sides are also wavy and are equipped with a door each. On the top rests a riser with a shelf that can be opened giving access to the internal compartment, to which galvanized tanks have been added to allow it to be used as a planter; in walnut, the interiors are in fir. The piece of furniture has small restorations and replacements in the construction part of the drawers, in the rear strip and in the hinges of the shelf to allow the aforementioned transformation, in the hardware and in a handle of one of the two side doors.

Oil on canvas. Lombard-Venetian School, late 17th-early 18th century. A farmer is depicted in the foreground, half-length, carrying a hoe on his shoulder. The figure is characterized by meticulous detail, from the wrinkles on the face to the dirt on the hands, from the tattered clothes to the roughness of the hoe. The painting's style recalls the work of Pietro Bellotti, who introduced figures of a similar nature into his portraiture. The painting has been restored and relined in the past. Framed in period style.

Oil on canvas. Central Italian School, 18th century. Large boar hunting scene, with knights, servants, and dogs scattered across the wooded countryside. Notable is the presence in the left foreground of a Moorish assistant, restraining one of the dogs and carrying a rifle on his shoulder. The painting has been restored and relined in the past. It is presented in a contemporary antique frame.

Italy, Early XIX Century

Empire cherry table. Top with segmented elm burl veneer. The under-top band features carved rosettes and successive gilded leaf moldings. Six turned legs with Doric capitals and gilded bases rest on a molded base with a carved and gilded central vase. Plinth feet feature carved rosettes that match those on the under-top band. Fir interior. Italy, early 19th century.

20th Century / 1901 - 2000

Big trumeau assembled with antique wood. The sides are notched and serpentine, the front has a double serpentine shape and four drawers. It has a drop-down openable door which conceals a small compartment with two drawers. The upper part has two shaped doors with mirrors and a tall carved cymatium with mirror. Inside inlaid compartment with three drawers. Ebonized frames.

Italy, Mid XIX Century

Eclectic lacquered and gilded table. Marble top veneered in inlaid verde antico, supported by turned, gouged, and carved legs with gilded leaves and scrolls. The lower section features a pair of drawers with fronts carved with floral and leaf motifs in a scroll-like pattern, gilded on a lacquered background; the same carvings are repeated on the sides. Fir interior. Italy, mid-19th century.

Oil on canvas. Northern Italian school, 17th century. The large scene is animated by numerous intertwining figures: in the center, illuminated by the beam of light coming from above, Mary with the baby Jesus in her arms, watched over by St. Joseph on the right; on the left, the three wise men, bearing their gifts in rich caskets, and their entire entourage, along with the angels watching from above. A curious detail is the two little angels at the bottom, preparing the manger to welcome the baby Jesus. The painting has been restored and relined in the past. Frame in period style.

Oil on canvas. The scene depicts a plea for clemency from a king: a man begs the king to pardon the young man who is about to be beheaded by two servants; curiously, a crowned head lies at the king's feet. The scene takes place in a camp near a city, with several soldiers attending, while the two prisoners are in civilian clothes, as are the servants brandishing swords over the prisoner. The scene is not clearly linked to a specific biblical historical episode, but it certainly aims to convey the king's mercy, contrasted with severe justice. The painting has been restored and relined in the past. It is presented in an early 20th-century frame, regilded.

Portrait of a Lady

Oil on canvas. Signed lower left. Celada loved to paint women, both in portraiture and in his figure studies, proposing a firm, classically feminine body, both in its form and in its references to the painting of the past. His painting, whatever the subject—still lifes, portraits, figures—capable of capturing reality in time and space, in a manner that appears detached, analytical, and scientifically precise (colors, reflections, transparencies), yet conveying—rather than total unreality—a great narrative pathos. The portrait of a woman presented here reveals Celada's ability to portray the subject with an almost photographic realism, yet surrounding her with an aura of surrealism, thanks to the monochromatic background devoid of any reference to the surrounding reality. The painting shows signs of previous restoration due to slight tears. Period frame.