60's Wall Mirror

Oil on canvas. Unidentified signature and date lower left. On the back of the frame there is a contemporary inscription in ink that reads "Amelia Germani, aged 4, 1876". The portrait shows the little girl dressed in an elegant aquamarine dress, in satin and lace, standing in front of a marble balustrade in the garden, holding a basket of multicoloured flowers in her hands. The little girl's bewildered gaze evokes tenderness, with her eyes wide open and fixed on the person portraying her while her left hand plays with the flowers in the basket, dropping some of them and denouncing the discomfort caused by the situation. The painting is presented in a late 19th century gilded frame.

Oil on canvas. Dutch school of the early 1900s. Looking in the pictorial methods and subject to the Flemish models of the previous centuries, the painting presents on a rustic wooden surface mixed fruit, with grapes, an orange, cherries, a lemon with the peel partially removed, and a wine glass with a particular base, worked with metal studs. The work is presented in a frame in style.

Oil on canvas. Dutch school of the early 1900s. Looking in the pictorial methods and subject to the Flemish models of the previous centuries, the painting presents, resting on a rustic wooden surface partially covered by a tablecloth, a composition with mixed fruit in a ceramic bowl and partly loose on the table, with grapes, an orange, cherries, plums, a fig and the peel of a lemon to adorn the glass of wine. The work is presented in a period frame.

Oil on canvas. Lively naturalistic composition of multicolored flowers in blue ceramic vases, which recall the sky color of the upper part of the background, which then fades into an earthy color in the lower part; on the left a parrot stands out for its unusual dark color. The painting has slight color losses, especially in the background. It is presented in a contemporary regilded frame.

Oil on canvas. Flemish school of the 19th century. The hilly landscape features on the left in the foreground a tall tree towering over the fields below, with a hunter intent on aiming at a prey hidden among its branches; not far away are some farmhouses, with the typical Nordic sloping roof, in front of which other figures can be glimpsed; in the background in the distance the blurred profile of a city emerges. On the frame is applied a plaque attributing to Anthony Van Borssom (1629 -1677), a Flemish landscape painter, to whose production the painting refers in some ways. The pictorial panel has been parqueted. The painting is presented in a gilded frame from the mid-1900s.

Torrefazione Caffè Pernigotti, 1924

Color lithograph. Signed and dated 1924 top right. Printed by the printer Barabino & Graeve of Genoa. This is an advertising poster for the well-known Pernigotti company of Novi Ligure, today renowned above all for the famous Gianduiotti chocolates, but which began with the production of various confectionery and similar products. Ettore Mazzini, a Genoese portrait and landscape painter, also created various advertising illustrations for important Ligurian companies (we recall the poster for the naval, thermal, electrical and mechanical constructions of the Ansaldo group of Genoa). The poster presented is in good condition, with humidity stains and a cut in the paper. Framed.

Oil on canvas. Northern Italian school, mid-17th century. The man portrayed is dressed in a large black cape, severe yet edged with white lace at the wrists, sitting at a desk while rereading a letter, with the inkwell and pen resting on the surface in front of him, indicating his culture and high position. The painting, restored and relined, is presented in a late 19th century frame re-lacquered in black, but with several missing colors.

Untitled

Acrylics on board. Signed lower right. The artist Marisa Mezzadra has combined the art of painting with poetry, translating into images what great poets of different centuries have inspired her. An English teacher at Bocconi University in Milan, she has combined two worlds, that of painting and that of teaching, in the constant search for new methods of developing her two activities. In particular, Marisa Mezzadra's metaphysical painting seeks to reveal the hidden meaning of existence, of the world within us and around us, in the profound essence of splendid nature.

Italy, Late XIX - Early XX Century

Pair of late 19th century boiserie panels, in carved poplar wood with neoclassical motif frames and female heads in the centre, lacquered in yellow and beige with gilded frames.

Untitled

Acrylics on board. Signed lower right. The artist Marisa Mezzadra has combined the art of painting with poetry, translating into images what great poets of different centuries have inspired her. An English teacher at Bocconi University in Milan, she has combined two worlds, that of painting and that of teaching, in the constant search for new methods of developing her two activities. In particular, Marisa Mezzadra's metaphysical painting seeks to reveal the hidden meaning of existence, of the world within us and around us, in the profound essence of splendid nature.

Landscape with Figures, 1930 ca.

Oil on canvas. Signed lower right. Ivan Karpoff, of Russian origins but raised and artistically established in Italy, was appreciated for his painting oriented towards the Italian impressionistic realism of the late 19th century; he devoted himself mainly to landscapes and portraits. In this work he offers a glimpse of the countryside and hills overlooking a lake, with two peasant figures intent on harvesting. On the back of the canvas there is a dedication: "Campanini... to the Manara spouses Luciano and Adriana, Milan 28 October 1939 XVII". The painting is presented in a mid-1900s frame.

The Return from the Feast of the Madonna dell'Arco in Naples

Oil on canvas. This is a copy of a famous painting by the painter Louis Léopold Robert (1794 -1835), which was exhibited at the Salon de Paris in 1827 and bought by King Louis Philippe; it is currently preserved in the Louvre Museum. The painting depicts a joyful festive scene, rich in folklore with costumed characters dancing the tarantella and in the background the fantastic panorama of the city of Naples. Robert, a Swiss artist, stayed several times in Italy, where he found inspiration for the creation of many works and established himself as a romantic genre painter and Grand Tour landscape painter, whose subjects were highly appreciated and replicated. The painting of the "Return from the feast of the Madonna dell'Arco in Naples", was part of a project by Robert, who intended to paint four large canvases on the seasons, set in four different parts of Italy: this one represented Spring. The canvas presented here, unsigned, is nevertheless of high pictorial quality. Restored and relined, it is presented in a late 19th - early 20th century frame.