Vintage Swatch Gent Vintage GG104 Shibuya 1989 with Original Case

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).

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.

Tempera on pith paper. Chinese, Canton, Qing dynasty, ca. 1860. A collection of twenty-eight paintings depicting Chinese courtiers, scholars, and merchants. Originally kept in an album, they are presented here in a beautiful frame decorated with embroidered floral fabrics. Pith paper is a thin, translucent material derived from the pith of the Tetrapanax papyrifer tree, or "pith plant," native to China and Taiwan. Pith paper entered painting to meet the growing demand for small, inexpensive, and easily transportable souvenirs following the massive growth of trade with China in the first quarter of the 19th century. Because many were sold in albums and thus protected from light, they retain their vibrant colors even today.

Italy, Late XIX Century

Half-moon walnut corner cabinet, central door and drawer under the top, perforated top with two shelves. Bracket legs. Italy, late 19th century.

Sketches for Aida

Mixed media on paper. Seven signed and dated sketches, and, at the top, a reproduction of the artist's signature. These are works by the prominent Italian painter Remo Brindisi, whose painting, based on a descriptive and realistic approach in his early works, added expressionist nuances in his later works, giving rise to his own neo-figurative language. His work is always imbued with social and political intentions. Brindisi also worked as a sculptor, illustrator, writer, set designer, and cultural curator. From a private collection in Milan. His collaboration on the grandiose sets and costumes for the 1974 production of Aida at the Verona Arena was particularly noteworthy. A series of seven signed and dated sketches from this work is presented here. Framed

Landscape with Flock and Shepherds

Oil on canvas. Signed lower left. This is likely Achille Dovera's largest work, presumably intended for an important patron. A small preparatory sketch on wood depicting the same scene has been sold on the market. In the center of the foreground, the work features a large flock of sheep walking along a path, accompanied by several shepherds. The animals emerge, enveloped in a great cloud of dust, from a passage through lush vegetation, in a flat countryside against the backdrop of mountain peaks. The Milanese painter Achille Dovera is considered a leading exponent of 19th-century naturalist and genre painting. A landscape painter, Dovera formally maintains a connection with phenomenal reality, which he reproduces with precision, even though color and light play a fundamental role; his rapid, moving brushstrokes lend freshness and immediacy to the scene without disrupting the forms. This large painting is presented in a beautiful, contemporary gilded wooden frame.